REEVES: Acrylics Instructions

Instructions
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S I N C E 1 7 6 6
Acrylics Instructions 6/3/04 11:32 AM Page 1
The Reeves Acrylic Studio Set is
the ideal first step for the
beginner to discover the delights
of this exciting medium, which
has revolutionised the world of
art. The tubes have been carefully
selected to form a palette from
which all the most frequently
used colours can be mixed.
It is very important that the
beginner should become
experienced at colour mixing
from a basic palette, and not be
confused by the huge number of
colours that can be available.
Every artist has an individual
style, but there are certain rules of
painting that the beginner should
follow in order to achieve
worthwhile results. If you are new
to painting the following tips may
be useful.
THE NATURE OF ACRYLIC COLOUR
Acrylic colour was created to imitate the
qualities of oil colour, but eliminate the
problems of lengthy drying times and the
need for specialist mediums and brush
cleaners. It is a water-based medium
which can be used as an oil colour
substitute or, by diluting the colour thinly
it is possible to create translucent glazes
in the manner of watercolour. Unlike
watercolour, however, acrylic dries quickly
to a tough finish that is no longer water-
soluble, so great care must be taken that
brushes are cleaned promptly.
Acrylic colour can be used opaquely in
other words, a light colour is capable of
covering over a darker colour, which is
useful for rectifying mistakes. Like oil
colour, it can be applied very thickly to
create textured paintings, and it is this
versatility and practicality that has been
so attractive to many modern artists,
such as David Hockney, who now often
uses acrylic colour in preference to oil
colour.
PREPARATION
Acrylic colour is hard to remove when dry,
so wear old clothing and use a disposable
tablecloth. You will also need an old rag
or a kitchen roll, and a large jar of water
for cleaning brushes.
If you are indoors, make sure you have
enough natural light to the front or side of
you.
Acrylic colour dries quite quickly, so only
squeeze out small quantities of colour at
a time. Unlike watercolour, the colour
cannot be re-activated once it has
become hard.
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COMPOSITION
Choosing subject matter is a very
personal thing. If you are inexperienced,
avoid complex compositions, you will
become frustrated and abandon the
picture! It is better to tackle a simple
scene and do it well.
Before committing yourself to paper,
consider the scene from different angles
and distances until you settle on the best
viewpoint. Work out which section of the
scene you are going to paint and then
lightly, with a soft pencil sketch out the
basic lines of the composition. Do not
concern yourself with too much detail at
this stage. Correct any mistakes with a
soft putty eraser to avoid tearing the
paper surface, and never use an eraser
on wet paper.
COLOUR MIXING
Knowing how to mix colours and how
much paint to use can only come with
experience and experimentation. Red,
Yellow, and Blue are called the Primary
Colours. This means they cannot be
mixed from other colours. Your set of
colours can be mixed to form a
comprehensive range, but remember that
sometimes it may be necessary to mix 3
or even 4 colours to achieve a result.
As a very basic guide remember that;
red +

green = brown

red +

yellow = orange

red +

blue = purple

blue +

yellow = green

blue +

green = turquoise
Once you have achieved the correct

colour, you must then achieve the correct
tone (or shade) i.e. the strength of the
colour. Remember that black is not the
only way of darkening a colour. It can
make colours look dirty. Try experimenting
with browns and blues. They darken
colours in very different ways to black.
Conversely, try lightening colours with
yellow or white, or a combination of the
two. It is advisable to make notes to
remind you how to achieve various colour
mixes.
Experiment on a piece of scrap board by
trying to accurately mix the colours of
objects around you. Always mix the
colours thoroughly. Try both supplied
brushes. They will make very different
types of mark on the board.
Add water to the mix to thin the colour.
Remember that Acrylic is capable of being
used thinly like watercolour or opaquely
like oil colour.
Finally there are no shortcuts to learning
about colour mixing. It is inevitable that
you will make mistakes, but some of
them may be happy ones!
2
1
Simple tonal sketch of the
composition in diluted yellow
ochre and brown. Allow to dry. The
artist has made a feature of the
dramatic sky by keeping the horizon
line low in the composition. The
farm building provides a useful focal
point.
2
The sky area is blocked in with
thicker paint applied with the
square ended brush. A basic mix of
blue & white is used for the sky and
yellow and white for the clouds. The
darker areas of sky are created by
mixing the blue with a touch of
crimson to make purple, and
applied while the other areas of sky
are still wet. Areas of white are also
blended into the clouds to create
highlights. The basic underpaint of
the path and grass areas is blocked
in with mid green and cream.
3
The background trees are
created by adding blue with the
green mix, giving the impression of
distance. The basic underpaint of
the farm buildings and large tree is
added. (Its advisable to allow the
sky to dry before adding tree
detail).
4
More layers of tone have been
added and the picture is now at
full strength. The medium allows
both dark and light areas of detail
to be painted on top of the
undercoat, as shown clearly in the
foreground grassy area. As a
general rule, undercoat layers
should be thin, with the consistency
of the paint increasing for the top
layers. Areas of detail have now
been added to the farmhouse and
the large tree. The paint has been
scraped on sparsely to create the
broken texture of the trees leaves.
Finishing touches are added with a
small brush. The picture is
impressionist in style, so no
attempt has been made to paint
individual leaves or blades of grass
etc.
PAINTING
Whether you are painting a still-life, a figure or a landscape the same rules apply. The
pictures opposite show how a painting is built up in stages.
FINISHING TOUCHES
Acrylic paintings can be framed under glass like watercolours, or without glass in the style
of oil paintings, depending on your personal preference. If you choose glass, it is advisable
to also use a card window-mount, which will prevent the glass pressing against the picture
and causing damage.
CARE OF EQUIPMENT
Acrylic colour must never be allowed to dry on a brush, as water becomes ineffective once
the colour has dried. Never stand brushes upright in water jars. This ruins the bristles.
Always thoroughly clean brushes in soap and water at the end of the day and restore their
shape before putting them away. Do not contaminate the purity of your paints by dipping
brushes into them, or by using the wrong tops. Always use the palette for mixing. Make
sure the tops are firmly screwed onto the tubes to avoid drying out.
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S I N C E 1 7 6 6
Oasis Art and Craft Products, Kidderminster, DY11 7JN, England.
Made under licence for Reeves in China. Reeves and the Greyhound device are trademarks of
ColArt Fine Art & Graphics Limited, England.

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