A Guide to Acrylic Painting

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A Guide to Acrylic Painting

Acrylic paint has revolutionized the art world since its introduction in the 1950s. What began as an experimental medium has become the choice of millions of artists worldwide—from beginners taking their first brushstrokes to professionals creating museum-worthy masterpieces. This comprehensive guide will walk you through everything you need to know about acrylic painting, from understanding the paint itself to mastering techniques and choosing the right supplies.

What is Acrylic Paint?

Acrylic paint is a water-based medium that consists of pigment suspended in an acrylic polymer emulsion. When the water evaporates, the polymer particles fuse together, creating a flexible, durable, and water-resistant film. This chemical composition gives acrylics their unique characteristics.

The chemistry behind it: Unlike oil paints that dry through oxidation (a chemical reaction with air), acrylics dry through evaporation. As water leaves the paint, the tiny plastic particles bind together permanently. This is why acrylics dry so quickly and why dried acrylic is nearly impossible to reactivate with water.

Key properties:

Fast-drying: Most acrylics dry to the touch in 10-20 minutes and cure completely within 24 hours
Water-soluble when wet: Cleans up easily with soap and water while painting
Water-resistant when dry: Creates a permanent, durable surface that won’t smudge or run
Versatile application: Can be used thin like watercolors or thick like oils
Flexible when dry: Won’t crack or yellow over time like oil paints
Adheres to many surfaces: Works on canvas, paper, wood, fabric, and more

Historical context: Acrylic paints were developed in the 1940s and became commercially available to artists in the 1950s. Artists like David Hockney, Andy Warhol, and Roy Lichtenstein helped popularize the medium, appreciating its vibrant colors, quick drying time, and modern aesthetic. Today, acrylics are the most popular painting medium for beginners and remain a favorite among contemporary artists.

What Do I Need to Start Painting in Acrylics?

Starting with acrylics doesn’t require a huge investment. Here’s a practical starter kit that will get you painting without breaking the bank:

Minimum essentials:

Basic paint set: Six to twelve colors including primary colors (red, blue, yellow), white, black, and a few earth tones
Brushes: Three to five brushes in different sizes and shapes (flat, round, filbert)
Painting surface: A few stretched canvases, canvas panels, or acrylic paper
Palette: A disposable paper palette or a plastic palette for mixing colors
Water containers: Two jars or cups for rinsing brushes
Paper towels or rags: For wiping brushes and cleaning up
Workspace protection: Old newspapers, plastic sheeting, or a dedicated painting surface

Recommended additions as you progress:

Easel (tabletop or floor-standing)
Palette knife for mixing and applying paint
Gesso for priming surfaces
Spray bottle to keep paint moist
Painting apron or old clothes
Basic mediums (gloss medium, matte medium)
Varnish for protecting finished work

Budget considerations: You can start with a basic student-grade paint set for $20-30, a few brushes for $10-15, and canvas panels for $15-20. For under $75, you can have everything needed to begin your acrylic painting journey. As your skills develop, you can gradually invest in higher-quality materials.

What’s The Difference Between Professional, Artist, and Student Grade Acrylic Paint?

Understanding paint quality helps you make informed purchasing decisions and manage expectations about results.

Student Grade:

Pigment content: Lower pigment concentration, often with fillers and extenders added
Color range: Limited palette, usually 20-40 colors
Permanence: May fade over time when exposed to light
Price: Most affordable, typically $3-8 per tube
Best for: Beginners, practice work, large-scale projects where cost matters, teaching environments
Popular brands: Liquitex Basics, Amsterdam Standard, Arteza, Reeves, Daler-Rowney System3

The colors may appear slightly chalky or less vibrant, and some hues can shift slightly as they dry. However, modern student-grade paints are surprisingly good quality and perfectly adequate for learning.

Artist Grade (also called “Professional Grade”):

Pigment content: High pigment concentration with minimal fillers
Color range: Extensive palette, often 80-100+ colors including single-pigment formulations
Permanence: Lightfast pigments rated for archival quality
Price: Mid to high range, typically $8-20 per tube depending on pigment rarity
Best for: Serious hobbyists, professional artists, gallery-worthy work, commissions
Popular brands: Golden Heavy Body, Liquitex Professional, Winsor & Newton Professional, M. Graham, Sennelier

These paints offer richer, more intense colors that mix cleaner without muddying. The higher pigment load means you use less paint to achieve full coverage.

Key differences explained:

Pigment load: Artist-grade paints might contain 40-60% pigment by volume, while student grades contain 15-30%. This means artist-grade paint goes further—you need less to achieve the same color intensity.

Color naming: Student grades often use “hue” designations (like “Cadmium Red Hue”), which means the color mimics the named pigment but uses cheaper alternatives. Artist grades more frequently use actual pigments.

Consistency: Professional paints maintain uniform consistency across the color range, while student grades can vary significantly—some colors might be runny while others are thick.

Permanence ratings: Artist-grade tubes display lightfastness ratings (how resistant to fading), while student grades often don’t provide this information.

Should you start with student or artist grade? For beginners, student grade is perfectly suitable. It allows you to practice techniques, experiment freely, and learn color mixing without anxiety about wasting expensive materials. Once you understand the medium and want to create work for exhibition or sale, transitioning to artist-grade paints will noticeably improve your results. Many artists use a hybrid approach: artist-grade paints for key colors they use frequently, with student-grade for underpainting or less critical applications.

What Are The Different Types of Acrylic Paint Available?

Acrylic paint comes in various formulations, each designed for specific applications and effects. Understanding these differences helps you choose the right paint for your project.

Heavy Body Acrylics:

Consistency: Thick, buttery texture similar to oil paint
Characteristics: Retains brush and palette knife marks, excellent for impasto techniques
Drying time: Moderate (15-30 minutes depending on thickness)
Best for: Traditional painting techniques, texture work, palette knife painting
Examples: Golden Heavy Body, Liquitex Heavy Body, Winsor & Newton Professional

Heavy body is the most popular formulation and what most people picture when thinking of acrylic paint.

Soft Body (Fluid) Acrylics:

Consistency: Smooth, cream-like texture that flows easily
Characteristics: Same pigment concentration as heavy body but more fluid, excellent for detail work
Drying time: Fast (10-20 minutes)
Best for: Glazing, watercolor techniques, airbrush work, smooth applications
Examples: Golden Fluid Acrylics, Liquitex Soft Body, Amsterdam All Acrylics

Don’t confuse these with “craft acrylics”—fluid acrylics maintain professional pigment loads despite their thinner consistency.

High Flow Acrylics:

Consistency: Ink-like, very thin but intensely pigmented
Characteristics: Excellent flow and leveling properties
Drying time: Very fast (5-15 minutes)
Best for: Fine detail work, calligraphy, staining techniques, airbrushing
Examples: Golden High Flow, Liquitex Acrylic Ink, Daler-Rowney FW Acrylic Inks

These are sometimes marketed as “acrylic inks” and come in bottles rather than tubes.

Open Acrylics:

Consistency: Similar to heavy body but with extended working time
Characteristics: Remains workable for hours rather than minutes
Drying time: Slow (can remain wet for hours depending on humidity and thickness)
Best for: Blending, glazing, plein air painting, artists transitioning from oils
Examples: Golden OPEN, Atelier Interactive

These revolutionary acrylics allow blending and reworking more like oils while maintaining acrylic’s other benefits.

Interactive Acrylics:

Consistency: Similar to traditional acrylics
Characteristics: Can be reactivated even after drying with water or special mediums
Drying time: Normal when left alone, can be kept wet indefinitely with misting
Best for: Artists who want flexibility in working time
Examples: Atelier Interactive, Chroma Atelier

These can be “unlocked” with water spray to blend even after the surface appears dry.

Acrylic Gouache:

Consistency: Creamy and opaque
Characteristics: Dries completely matte and flat, can be reactivated slightly with water
Drying time: Fast (10-20 minutes)
Best for: Illustration, graphic design, flat color application, poster work
Examples: Holbein Acryla Gouache, Turner Acryl Gouache

This hybrid medium combines acrylic’s permanence with traditional gouache’s matte finish.

Craft Acrylics:

Consistency: Varies, usually thin to medium
Characteristics: Lower quality pigments and binders, less durable
Drying time: Fast
Best for: Children’s projects, decorative crafts, surfaces that won’t be displayed long-term
Examples: Apple Barrel, Folk Art, Ceramcoat

While adequate for casual projects, these lack the permanence and color quality for serious artwork.

Specialty Acrylics:

Interference and iridescent: Contain mica particles for shimmer and color-shifting effects
Metallic: Contain metal flakes for gold, silver, copper appearances
Fluorescent: Glow under UV light
Phosphorescent: Glow in the dark after light exposure
Texture paints: Pre-mixed with sand, fibers, or pumice for dimensional effects

Adding Mediums to Acrylic Paint

Acrylic mediums are additives that modify paint properties without diluting pigment strength. Understanding mediums expands your creative possibilities exponentially.

Gloss Medium:

Purpose: Increases transparency, extends paint, enhances gloss
Uses: Creating glazes, increasing paint volume without losing intensity, collage adhesive
Mixing ratio: Typically 1:1 with paint, but can vary
Effect: Makes colors more vibrant and jewel-like when dry

Matte Medium:

Purpose: Same as gloss medium but creates a flat, non-reflective finish
Uses: Reducing sheen, creating subtle glazes, unified matte appearance
Mixing ratio: 1:1 with paint
Effect: Subdues color intensity slightly but eliminates glare

Gel Mediums (Soft, Regular, Heavy, Extra Heavy):

Purpose: Thickens paint while maintaining transparency or translucency
Uses: Impasto techniques, texture building, extending paint, collage adhesive
Mixing ratio: Varies based on desired thickness
Effect: Increases body and creates sculptural possibilities; available in gloss, semi-gloss, and matte

Retarder (Slow-Dri Blending Medium):

Purpose: Extends drying time
Uses: Blending colors on canvas, creating gradients, detailed work
Mixing ratio: Usually no more than 15% by volume (too much prevents proper drying)
Effect: Keeps paint workable for 2-4 times longer
Caution: Overuse can make paint sticky and prevent proper curing

Flow Improver (Flow Release):

Purpose: Reduces surface tension of water and paint
Uses: Creating smooth, even brushstrokes, reducing brush marks, airbrushing
Mixing ratio: A few drops per ounce of paint
Effect: Paint flows more easily, self-levels, and reduces “drag”

Glazing Medium:

Purpose: Creates transparent layers while extending drying time slightly
Uses: Building luminous color layers, creating depth, optical color mixing
Mixing ratio: High ratio of medium to paint (often 10:1 or more)
Effect: Rich, translucent color layers without visible brushstrokes

Modeling Paste:

Purpose: Creates substantial texture and three-dimensional effects
Uses: Building up surfaces, creating relief textures, sculptural elements
Mixing ratio: Can be used straight or mixed with paint
Effect: Creates thick, opaque texture that can be carved, shaped, or sanded when dry
Types: Light molding paste (contains hollow microspheres, lighter weight), regular, hard, and flexible varieties

Pouring Medium:

Purpose: Thins paint to perfect consistency for fluid art
Uses: Pour painting, creating cells and fluid patterns, marbling effects
Mixing ratio: Varies by technique, typically 2:1 or 3:1 medium to paint
Effect: Maintains pigment strength while making paint flow freely

Texture Gels and Pastes:

Glass Bead Gel: Adds sparkle and reflective quality
Pumice Gel: Creates rough, stone-like texture
Fiber Paste: Adds dimensional fibers
Crackle Paste: Creates intentional cracking patterns as it dries
Uses: Adding physical and visual interest, mixed media work

Fabric Medium:

Purpose: Makes acrylics flexible and washable on fabric
Mixing ratio: Usually 1:2 (medium to paint)
Effect: Prevents stiffness and cracking on fabric surfaces

Tips for using mediums:

Always read manufacturer instructions—different brands have different formulations
Add mediums gradually and test on scrap before committing to your artwork
Mix thoroughly to ensure even distribution
Mediums don’t change the color of paint but may affect how light or dark it appears when dry
Most mediums are white or milky when wet but dry clear
Store mixed paint with mediums in airtight containers if not using immediately

Brushes for Acrylic Painting

Choosing the right brushes makes an enormous difference in your painting experience. Acrylic’s quick-drying nature places specific demands on brush selection and care.

Brush Anatomy:

Bristles/Hairs: The painting part that holds and releases paint
Ferrule: The metal band that holds bristles and connects them to the handle
Crimp: Where the ferrule grips the handle
Handle: Usually wooden or plastic, comes in various lengths

Synthetic vs. Natural Hair:

Synthetic brushes (Taklon, nylon, polyester):

Pros: Durable with acrylics, affordable, cruelty-free, maintain shape well, easy to clean
Cons: Less paint-holding capacity than natural hair
Best for: Acrylics, beginners, general-purpose painting
Recommendation: Always choose synthetic for acrylics—natural hair brushes deteriorate quickly with acrylic’s alkaline pH

Natural hair (sable, hog bristle, squirrel, goat):

Pros: Excellent paint-holding, beautiful flow and spring
Cons: Expensive, acrylic paint damages them over time, requires careful cleaning
Best for: Watercolors and oils primarily
For acrylics: Only premium kolinsky sable for fine detail work if you’re willing to invest and maintain carefully

Brush Shapes and Their Uses:

Round Brushes:

Description: Pointed tip, round ferrule, versatile shape
Best for: Detail work, outlines, fine lines, filling in small areas, everything from delicate details to bold strokes depending on pressure
Sizes: 00 (tiny detail) to 12+ (larger applications)
Techniques: Use the tip for fine lines, press down for broader strokes

Flat Brushes:

Description: Square-edged, flat ferrule
Best for: Bold strokes, filling large areas, sharp edges, blending
Sizes: Typically 2 to 24 (measured in fractions of an inch or millimeters)
Techniques: Use the flat edge for coverage, the narrow edge for fine lines, angled application for varied stroke width

Filbert Brushes:

Description: Oval-shaped, flat with rounded tip
Best for: Blending, soft edges, general painting, versatile for many techniques
Sizes: Similar to flats
Techniques: Combines benefits of rounds and flats; the rounded edge creates softer strokes than flats

Bright Brushes:

Description: Like a flat but with shorter bristles
Best for: Controlled, precise strokes, thick paint application, scrubbing techniques
Sizes: Same as flats
Techniques: More control than regular flats, excellent for heavy body acrylics

Fan Brushes:

Description: Thin, spread-out bristles in a fan shape
Best for: Blending, softening edges, creating texture (grass, fur, hair), special effects
Sizes: Usually small to medium
Techniques: Light, feathery strokes; excellent for landscapes

Angle Brushes:

Description: Flat brush cut at an angle
Best for: Controlled detail work, filling corners, curved strokes, leaves and petals
Sizes: Typically small to medium
Techniques: The angled edge naturally creates curved strokes

Liner/Rigger Brushes:

Description: Very long, thin round bristles
Best for: Fine lines, lettering, branches, rigging on ships (hence the name)
Sizes: Very small
Techniques: Use with thinned paint for flowing, continuous lines

Mop Brushes:

Description: Large, soft, fluffy round brush
Best for: Varnishing, large washes, softening edges
Sizes: Medium to large
Techniques: Hold lots of liquid for smooth, even application

Starter Brush Set Recommendation:

Flat: sizes 4, 8, 12
Round: sizes 2, 6, 10
Filbert: size 6
Liner: size 1
Fan: size 4

This gives you 8 brushes covering most techniques for under $30-50 depending on quality.

Brush Care for Acrylics (Critical for longevity):

During painting:

Rinse frequently—don’t let paint dry in bristles
Keep brushes in water when not actively using, but don’t let them rest on bristles
Use brush soap or gentle dish soap for stubborn paint

After painting:

Rinse thoroughly in lukewarm water
Gently squeeze bristles from ferrule to tip to remove paint
Wash with brush soap or mild dish soap, working soap into bristles from ferrule to tip
Rinse until water runs clear
Reshape bristles with fingers
Lay flat to dry or store bristle-up in a jar

Never:

Leave brushes soaking with bristles touching the bottom
Allow paint to dry in the ferrule (ruins the brush permanently)
Use hot water (can loosen glue and damage bristles)
Store wet brushes bristle-down

When brushes are beyond hope: If acrylic dries in the ferrule, try soaking in isopropyl alcohol or brush cleaner, but prevention is far better than cure.

Palette Knives

Palette knives open up bold, expressive techniques impossible with brushes alone. Don’t confuse them with painting knives—though similar, painting knives are specifically designed for applying paint while palette knives are primarily for mixing.

Anatomy of a Palette Knife:

Blade: Flexible metal (usually stainless steel), comes in various shapes
Crank/Offset: The bend in the shank that keeps your hand above the painting surface
Shank: Connects blade to handle
Handle: Usually wooden or plastic

Types and Shapes:

Trowel/Diamond Shape:

Most common and versatile
Pointed tip for details, broad middle for coverage
Ideal for general palette knife painting

Straight Edge:

Rectangular blade
Creates architectural lines and geometric shapes
Good for spreading paint evenly

Tear Drop:

Rounded with tapered point
Excellent for blending and rounded forms
Popular for flower petals and organic shapes

Angular/Offset:

Angled blade
Great for reaching into corners
Precise control for detailed work

Small Detailing Knives:

Tiny blades for fine work
Adds details in knife paintings
Can create thin lines and small shapes

Sizes: Usually measured in length, from 1 inch to 5+ inches

Mixing Palette Knives:

Straight blades without offset
Used only for mixing colors on the palette
Usually longer and less flexible than painting knives
Essential tool even if you don’t paint with knives

Techniques with Palette Knives:

Impasto: Apply thick paint directly from the knife, creating dimensional texture and visible paint strokes

Scraping/Sgraffito: Remove wet paint to reveal underlayers or create linear marks

Blending: Use the flat of the blade to merge colors directly on canvas

Smooth application: Spread paint evenly like butter for flat, brushstroke-free areas

Detail work: Use the tip or edge for fine lines and small accents

Texture creation: Twist, stipple, or drag the knife through paint for varied effects

Advantages of knife painting:

Bold, contemporary aesthetic
No brush marks or texture (unless desired)
Clean color mixing on the palette
Fast coverage of large areas
Exciting, spontaneous mark-making
Easy cleanup—wipe blade with paper towel

Disadvantages:

Less precision than brushes for fine detail
Uses more paint
Learning curve for control
Different techniques required

Cleaning: Simply wipe paint off with paper towel while wet. For dried paint, carefully scrape with another blade or soak in warm soapy water. Never put in dishwasher.

Starting recommendation: One medium trowel-shaped painting knife and one straight mixing knife will cover most needs initially.

Acrylic Primer and Acrylic Gesso

Preparing your surface properly makes the difference between paint that adheres beautifully and paint that flakes or looks dull. Gesso is the foundation of successful acrylic painting.

What is Gesso?

Gesso (pronounced “JESS-oh”) is a primer that prepares surfaces for painting. Traditional gesso was a combination of chalk, white pigment, and animal-skin glue. Modern “acrylic gesso” is actually not true gesso but rather an acrylic-based primer made from acrylic polymer medium, calcium carbonate (chalk), white pigment (usually titanium dioxide), and various additives.

Why Prime with Gesso?

Creates tooth: Tooth is the slight texture that helps paint grip the surface. Without it, paint can bead up or slide around.

Provides absorbency: Gesso’s porous surface absorbs paint evenly, preventing splotchy appearance.

Protects the surface: Creates a barrier between paint and substrate, preventing damage from paint’s acidity.

Improves color vibrancy: White gesso provides a bright, reflective base that makes colors pop.

Saves paint: Unprimed surfaces, especially raw canvas, absorb huge amounts of paint. Gesso seals the surface.

Unifies the surface: Creates consistent painting surface across different materials.

Types of Gesso:

White Gesso (Standard):

Most common
Bright white base enhances color luminosity
Available in various textures from smooth to sandable
Use for most general painting applications

Black Gesso:

Creates dramatic, dark base
Excellent for moody paintings or when you want colors to read darker
Popular for toned grounds
Makes adding highlights and light areas more intuitive for some artists

Colored Gesso (Gray, Red, Earth Tones):

Mid-tone grounds that eliminate stark white
Can influence overall color temperature
Speeds up painting process by providing middle values
Gray gesso is popular for portraiture

Clear Gesso:

Provides tooth without changing surface color
Useful for preserving natural wood grain or colored surfaces
Slightly cloudier than totally transparent

Super Heavy Gesso:

Extra thick formula for texture
Can be sculpted or manipulated before drying
Creates dimensional surfaces

How to Apply Gesso:

Prepare the surface: Ensure it’s clean, dry, and free of dust or oils
Stir gesso: Don’t shake (creates bubbles)—stir thoroughly instead
Apply first coat: Use a wide, flat brush or foam brush. Apply in one direction (horizontal or vertical)
Dry completely: Usually 30 minutes to an hour, depending on thickness and humidity
Light sanding (optional): Use fine-grit sandpaper (220-grit) to smooth any brush marks
Apply second coat: Brush perpendicular to first coat for even coverage
Repeat: 2-3 coats provide best results. Sand lightly between coats if desired
Final dry time: Let cure for at least 24 hours before painting

Application tips:

Use long, smooth strokes to minimize texture
Don’t overwork the gesso—it starts to get tacky as it dries
For smooth finish, use foam brush or roller
For textured finish, use stiff bristle brush or apply with palette knife
Thin gesso with 10-20% water if too thick, but don’t over-thin
Clean tools immediately—dried gesso is permanent

What Surfaces Need Gesso?:

Require gesso:

Raw canvas
Raw wood
Unprimed paper or cardboard
Fabric
Metals (for better adhesion)

Pre-primed (gesso optional):

Pre-stretched “primed” canvas
Canvas panels labeled “primed”
Acrylic painting paper

Don’t use gesso on:

Surfaces you want watercolor effects on (gesso prevents proper watercolor absorption)
Glass or plastic where you want transparency

Gesso vs. House Paint Primer: Never use house paint primer as substitute. It’s not formulated for flexibility, archival quality, or proper paint adhesion and will cause problems long-term.

Making Your Own Gesso: While possible (recipes mix calcium carbonate, acrylic medium, and titanium white paint), commercial gesso is affordable and consistently reliable. DIY gesso is primarily for artists seeking specific properties or historical authenticity.

What Is The Best Surface for Acrylic Painting?

Acrylics’ versatility means you can paint on almost anything, but each surface offers different characteristics. Understanding your options helps you choose the best surface for your intended project and style.

Stretched Canvas:

What it is: Cotton or linen fabric stretched taut over wooden stretcher bars

Advantages:

Traditional, gallery-standard presentation
Slight give creates pleasant painting feel
Lightweight and easy to hang
Available in every imaginable size
Most popular choice for serious paintings

Disadvantages:

More expensive than panels
Can warp or sag over time if not properly supported
Susceptible to punctures
Requires careful storage

Types:

Pre-stretched, pre-primed: Ready to paint, most convenient
Pre-stretched, unprimed: Must be sized and primed before use
Canvas by the yard: For stretching your own

Quality indicators:

Thread count (higher is smoother, better)
Linen vs. cotton (linen is archival and long-lasting, cotton is affordable)
Staple position (back-stapled canvases have cleaner edges)
Weight (heavier canvas sags less)

Best for: Traditional paintings, gallery work, large-scale pieces, when you want classic canvas texture

Canvas Panels:

What it is: Canvas glued to rigid cardboard or MDF backing

Advantages:

Very affordable
Won’t warp or sag
Easy to store flat
Great for studies and practice
Rigid support for palette knife work

Disadvantages:

Cardboard backing not archival
Less prestigious than stretched canvas
Edges visible if displayed unframed
Size limitations (rarely larger than 16×20)

Best for: Beginners, studies, plein air painting, when budget matters, practicing techniques

Canvas Paper/Pads:

What it is: Paper textured to mimic canvas weave, usually bound in pads

Advantages:

Most affordable option
Portable and convenient
Great for sketches and studies
No storage concerns
Easy to cut to size

Disadvantages:

Can buckle with wet techniques
Not suitable for heavy paint application
Lower perceived value
Must be framed under glass or mounted

Best for: Travel sketching, color studies, thumbnails, practicing compositions, budget-conscious artists

Wood Panels:

What it is: Solid wood, plywood, MDF, or hardboard (like Masonite)

Advantages:

Extremely rigid support
Smooth or custom-textured surface
Archival when properly prepared
Professional appearance
Excellent for detailed work
Won’t dent or puncture

Disadvantages:

Heavier than canvas
Requires proper sealing/priming
Can be more expensive
Raw wood can warp without proper preparation

Preparation:

Sand smooth
Seal all sides with acrylic medium to prevent moisture absorption
Apply 2-3 coats of gesso
Sand lightly between coats for ultra-smooth finish

Best for: Detailed work, photo-realistic painting, when you want smooth surface, mixed media, modern aesthetic

Watercolor Paper:

What it is: Thick, textured paper designed for water media

Advantages:

Can handle diluted acrylics well
Interesting texture options
Affordable
Easy to frame
Good for acrylic-watercolor hybrid techniques

Disadvantages:

Can buckle with thick paint
Must be heavy weight (140lb/300gsm minimum)
May need stretching or mounting for flat finish
Not ideal for heavy impasto

Best for: Thin acrylic techniques, acrylic washes, watercolor-style acrylic painting, studies

Illustration Board:

What it is: High-quality paper mounted to rigid cardboard backing

Advantages:

Smooth, professional surface
Rigid—doesn’t buckle
Excellent for detailed work
Ready to use without preparation

Disadvantages:

Expensive
Limited sizes
Cardboard backing not fully archival

Best for: Illustration, detailed work, professional pieces that will be photographed or scanned

Unconventional Surfaces:

Fabric: Prime with fabric medium mixed into gesso for flexible, washable results

Glass: Clean thoroughly, roughen with fine sandpaper or use glass primer for adhesion

Plastic: Requires sanding or plastic primer; some acrylics won’t adhere without preparation

Metal: Prime with gesso or metal primer; excellent rigid support

Stone/Concrete: Porous surfaces work well; seal if very absorbent

Rocks: Popular for painted rock projects; wash and seal with acrylic medium first

Terra Cotta: Porous clay pots take acrylics beautifully

Surface Selection Guide:

For beginners: Canvas panels or acrylic paper
For practice/studies: Canvas paper or budget canvas panels
For gallery-quality work: Stretched canvas or wood panels
For fine detail: Smooth wood panels or illustration board
For outdoor painting: Canvas panels (portable and rigid)
For experimental work: Whatever surface interests you—part of acrylic’s joy is versatility

Making Your Own Canvas

Creating your own stretched canvas is more economical and allows complete control over size, proportion, and quality. While it requires initial investment in tools, you’ll save significantly on larger canvases.

Materials Needed:

Stretcher bars:

Pre-made wooden bars with pre-cut corners
Available in pairs at art supply stores
Choose same length for square, different for rectangle
Quality indicators: straight grain, no warping, smooth corners

Canvas:

By the yard/roll
Primed or unprimed (unprimed is more traditional but requires sizing)
Linen or cotton (linen lasts longer, cotton is affordable)
Choose appropriate weight (8-12 oz for most applications)

Tools:

Canvas pliers (essential for tight stretching)
Staple gun with
Scissors or utility knife
Measuring tape
Corner angle tool or carpenter’s square (optional but helpful)
Optional:
Rabbit skin glue or acrylic sizing (for unprimed canvas)
Gesso (if using unprimed canvas)
Corner keys (small wooden wedges to tighten canvas later if needed)

Step-by-Step Process:

1. Assemble Stretcher Bars:

Connect corners—they should fit snugly
Check corners with square tool to ensure 90-degree angles
Insert corner keys in slots on inside corners (if provided)
Lay flat on clean surface

Optional:

Rabbit skin glue or acrylic sizing (for unprimed canvas)
Gesso (if using unprimed canvas)
Corner keys (small wooden wedges to tighten canvas later if needed)

Step-by-Step Process:

1. Assemble Stretcher Bars:

Connect corners—they should fit snugly
Check corners with square tool to ensure 90-degree angles
Insert corner keys in slots on inside corners (if provided)
Lay flat on clean surface

2. Cut Canvas:

Measure stretcher frame
Add 3-4 inches to each dimension for wrapping
Cut with scissors or knife using straight edge
Example: For 16×20″ frame, cut canvas 22×26″

3. Position Canvas:

Lay canvas face-down on clean surface
Center stretcher frame on top
Ensure canvas weave runs parallel to frame edges (not diagonal)

4. Start Stapling:

Fold canvas over one long side, pull taut
Staple once in center of that side
Move to opposite side, pull very taut with canvas pliers
Staple center of that side
Repeat for remaining two sides
You now have four center staples holding canvas in cross pattern

5. Continue Stapling:

Work outward from center staples
Alternate sides to maintain even tension
Pull canvas with pliers before each staple
Space staples 2-3 inches apart
Stop 3-4 inches from each corner

6. Fold Corners:

Pull corner taut diagonally
Fold fabric neatly (envelope style or simple fold)
Staple securely
Trim excess fabric if bulky

7. Final Steps:

Check for loose areas—add staples where needed
Trim excess canvas to 1/2 inch from staples (optional, for cleaner appearance)
If using unprimed canvas, apply sizing then gesso
If using pre-primed canvas, it’s ready to paint

Tips for Success:

Tension: Canvas should be drum-tight when tapped with finger. Loose canvas will sag and create an unsatisfactory painting surface.

Staple placement: For gallery-wrapped canvas (edges visible), staple on back. For framed canvas, stapling on sides is fine.

Grain direction: Keep canvas weave straight—diagonal stretching causes warping.

Working surface: Use clean, smooth table to avoid debris getting trapped under canvas.

Primed vs. unprimed: Pre-primed canvas is convenient but more expensive. Unprimed requires sizing (rabbit skin glue or acrylic binder) before gesso to prevent deterioration.

Traditional Sizing Process (for unprimed canvas):

Mix rabbit skin glue or acrylic sizing per instructions
Apply warm solution with brush to front and back
Let dry completely (24 hours)
Apply 2-3 coats gesso to front only
Sand lightly between coats

When to Make Your Own vs. Buy Pre-Made:

Make your own when:

Creating large canvases (significant cost savings)
Wanting non-standard sizes or proportions
Preferring specific canvas type/quality
Enjoying the process and having time

Buy pre-made when:

Needing standard sizes
Wanting immediate use
Time is limited
Creating small canvases (minimal savings)

Cost Comparison Example:

Pre-made 24×36″ stretched canvas: $25-45
DIY 24×36″ (stretcher bars $12, canvas $8): $20 total, plus your time

Initial tool investment (pliers, stapler) pays for itself after 5-10 canvases.

Palettes for Acrylic Painting

Your palette is your mixing laboratory where colors come to life. Since acrylics dry quickly, palette choice significantly impacts your painting experience.

Disposable Paper Palettes:

What it is: Tear-off sheets bound in pad, coated with water-resistant finish

Advantages:

Zero cleanup
Bright white surface shows true colors
Portable and lightweight
Fresh mixing surface for each session

Disadvantages:

Ongoing cost
Environmental waste
Paint dries just as fast as other palettes

Best for: Plein air painting, workshops, artists who hate cleanup, teaching situations

Cost: $10-20 for pad of 40-50 sheets

Plastic Palettes:

What it is: Hard plastic (usually white or gray) with mixing wells

Advantages:

Reusable indefinitely
Inexpensive initial cost
Traditional thumb-hole design for holding
Lightweight
Dried paint peels off easily

Disadvantages:

Paint dries quickly
Stains over time
Can become slippery when wet

Best for: Budget-conscious artists, studios, general use

Cost: $3-15 depending on size

Glass or Plexiglass Palettes:

What it is: Sheet of glass or acrylic, often with white or gray backing paper

Advantages:

Smooth, non-porous surface
Paint mixes effortlessly
Easy cleanup (dried paint scrapes off with razor blade)
Can place colored paper underneath to see colors against different backgrounds
Professional standard

Disadvantages:

Glass is heavy and breakable
No thumb hole (must sit flat)
Initial cost higher

Best for: Studio painting, professionals, artists who want clean mixing and easy scraping

Cost: $20-50 for quality palette

DIY option: Have glass shop cut piece with smooth edges, tape edges for safety, and place white paper underneath

Stay-Wet Palettes:

What it is: Plastic container with sponge layer and special permeable paper on top

How it works: Water from sponge migrates through paper, keeping paints moist for days or weeks

Advantages:

Paints stay workable for days
Less paint waste
Can cover and save mixed colors
Revolutionary for slow painters

Disadvantages:

Initial cost
Requires maintenance (changing water, cleaning sponge, replacing paper)
Can grow mold if not maintained
Takes up more space

Best for: Detailed work, artists who work slowly, anyone frustrated by fast-drying acrylics, saving expensive mixed colors

Cost: $15-40 depending on size

Maintenance:

Change water every 2-3 days
Clean sponge weekly
Replace paper when worn or moldy
Store in refrigerator for extended periods

DIY stay-wet palette:

Shallow plastic container with lid
New kitchen sponge
Palette paper or parchment paper
Saturate sponge, lay paper on top

Wooden Palettes:

What it is: Traditional wooden palette, often with thumb hole

Advantages:

Classic artist aesthetic
Warm, natural feel
Can be sealed for easier cleanup

Disadvantages:

Absorbs paint if not sealed
Requires more cleanup effort
Heavier than plastic
Paint dries quickly

Best for: Artists who prefer traditional tools, oil painters also using acrylics

Preparation: Seal with several coats of linseed oil or varnish before use

Specialty Palettes:

Palette Cups/Wells: Attach to palette edge, hold water or medium

Masterson Sta-Wet Palette: Industry-standard stay-wet system

Large Mixing Trays: For fluid acrylics or pouring techniques

Palette with Lid: Plastic palette with cover to slow drying

Tear-Off Palette with Hand Strap: Combines disposable convenience with handheld design

Palette Organization Tips:

Color arrangement:

Squeeze colors around edge
Leave center for mixing
Arrange light to dark, or warm to cool
Keep whites separate from dark colors
Consistent arrangement helps develop color memory

Paint amount:

Squeeze small amounts—you can always add more
Acrylics dry fast; better to refresh than waste

Mixing area:

Keep one area for each mixture
Don’t contaminate piles by mixing into them
Use palette knife for thorough mixing

Extending Working Time on Palettes:

Mist with water from spray bottle frequently
Use retarder medium in mixtures
Choose stay-wet palette
Cover palette with damp cloth during breaks
Work in humid environment when possible

Cleaning Palettes:

While wet:

Rinse thoroughly under warm water
Use soft cloth or paper towel
Mild soap for stubborn paint

Dried paint:

Plastic: Peel off dried paint or soak in warm water
Glass: Scrape with razor blade at 45-degree angle
Stay-wet: Replace paper, clean sponge and container

Recommendation for Beginners: Start with an inexpensive plastic palette or disposable pad to learn without worry. Graduate to stay-wet palette once committed, as it dramatically improves the acrylic painting experience.

Useful Tools for Acrylic Painting

Beyond paint and brushes, these tools make acrylic painting more convenient, effective, and enjoyable.

Water Containers:

Double-well containers: Separate compartments for rinsing and clean water
Brush washers: Ribbed bottom helps clean bristles, coil holder keeps brush tips from touching bottom
DIY solution: Two mason jars or cups work perfectly
Tip: Change water frequently for cleaner colors

Spray Bottles:

Purpose: Keep paints and palette moist
Type: Fine mist setting works best
Usage: Mist palette every 10-15 minutes, spray canvas lightly for blending techniques
Cost: $3-10

Paper Towels and Rags:

Uses: Wiping brushes, blotting excess water, cleaning spills, creating texture
Preference: Shop towels or old cotton t-shirts work better than paper towels (more absorbent, less wasteful)
Tip: Keep multiple rags—one for water, one for paint

Painter’s Tape:

Purpose: Mask off areas, create clean edges, tape paper to board
Type: Low-tack (blue) or medium-tack (green) won’t damage surfaces
Technique: Press down edges firmly, remove while paint slightly wet for cleanest edges
Cost: $5-10 per roll

Paint Markers:

What they are: Pens filled with acrylic paint
Uses: Fine details, lettering, outlines, small projects
Brands: Posca, Molotow, Artistro, Uni Posca
Tip: Shake well, prime tip on scrap paper
Best for: Adding finishing touches to paintings, rock painting, mixed media

Palette Knives (covered earlier but essential to mention):

For mixing colors (straight edge)
For applying paint (offset angled blades)
Keep one designated for mixing only

Sponges:

Natural sea sponges: Create organic, irregular textures
Synthetic sponges: More uniform texture
Uses: Applying paint, creating clouds, foliage, stippling effects, texturing
Tip: Wet first, squeeze out excess, then load with paint

Ruling Pens and Technical Tools:

Create perfectly straight lines
Used with liquid acrylics or inks
Professional look for hard-edge painting

Brayer/Roller:

Uses: Applying even paint layers, creating smooth backgrounds, printmaking techniques, spreading gesso
Types: Hard rubber, soft rubber, foam
Sizes: 2-6 inch widths common

Viewfinder/Cropping Tools:

Purpose: Isolate compositions, plan paintings
DIY: Two L-shaped pieces of cardboard
Use: Hold up to subject or photo to test different crops

Projector or Light Box:

Transfer drawings to canvas
Especially helpful for detailed compositions
Light box for tracing, projector for enlarging

Easel:

Tabletop easels: Compact, $15-40
H-frame: Adjustable, stable, $50-150
A-frame: Portable, $30-100
French easel: Portable with storage, ideal for plein air, $100-300
Not essential: Many artists work flat on table

Palette Cups:

Clip to palette edge
Hold water, medium, or solvent
Keep hands free
$5-15 for set

Apron or Smock:

Protect clothing (acrylic doesn’t wash out once dry)
Look for water-resistant fabric
Pockets for tools convenient
Alternative: Wear painting clothes

Hairdryer/Heat Gun:

Uses: Speed drying time, heat-set certain techniques, acrylic pouring
Caution: Too much heat can cause cracking; keep moving, don’t focus on one spot

Toothbrush or Splatter Brush:

Create speckled effects
Flick bristles for splatter technique
Useful for stars, texture, grunge effects

Mixing Containers:

Small cups or jars for pre-mixing large quantities
Especially useful when matching colors across sessions
Airtight containers can store mixed paint briefly

Masking Fluid/Frisket:

Liquid latex that masks areas
Paint over it, then peel off when dry
Preserves white areas or underlayers
Use old brush (ruins brushes) or silicone tool

Color Wheel:

Learning tool for color theory
Helps predict mixing results
Pocket-sized versions available
$5-15

Sketchbook:

Plan compositions
Test color combinations
Keep artistic journal
Any paper works for rough sketches

Organization Tools:

Brush holders: Keep brushes organized and protected
Tool caddies: Portable organization for supplies
Storage boxes: Keep paint tubes sorted
Rolling carts: Mobile studio organization

Quality of Life Tools:

Good lighting: Daylight bulbs (5000K-6500K) show true colors
Comfortable chair: Adjustable height for easel work
Music/podcasts: Make long sessions enjoyable
Timer: Track painting sessions, remind you to take breaks

Tools You DON’T Need as Beginner:

Expensive brush sets (start with basics)
Every size of everything
Specialized mediums (master basics first)
Professional-grade everything

Build your tool collection gradually based on techniques you actually use and enjoy.

Varnishes for Acrylic

Varnishing is the final, crucial step that protects your finished painting and unifies its appearance. Understanding varnish options ensures your artwork lasts for years.

Why Varnish?

Protection:

Guards against dust, dirt, and pollutants
Protects from UV light (if UV-resistant varnish)
Prevents minor scratches and abrasions
Moisture barrier (important for humid environments)

Visual benefits:

Evens out surface sheen (acrylics dry with irregular gloss)
Enhances color vibrancy and depth
Creates unified, professional appearance
Can change finish from matte to glossy or vice versa

Longevity:

Archival varnishes help paintings last decades or centuries
Removable varnishes allow future cleaning and restoration

Types of Varnish:

Gloss Varnish:

Appearance: Shiny, reflective finish
Effect: Maximizes color saturation, creates jewel-like quality
Best for: Vibrant paintings, work with rich colors, when you want maximum impact
Considerations: Can create glare under certain lighting, may make surface appear “wet”

Matte Varnish:

Appearance: Flat, non-reflective finish
Effect: Subtle, sophisticated look, no glare
Best for: Paintings meant to feel soft or understated, avoiding reflections in photos
Considerations: Can slightly dull colors, may appear chalky if over-applied

Satin/Semi-Gloss Varnish:

Appearance: Medium sheen, gentle glow
Effect: Balance between matte and gloss
Best for: Most general applications, when you want slight enhancement without high shine
Considerations: Most versatile option, pleases most viewers

Removable Varnish:

Purpose: Can be removed with specific solvents for cleaning or restoration
Advantage: Allows artwork to be restored decades later
Disadvantage: More expensive, slightly more complex application
Brands: Golden MSA Varnish, Winsor & Newton Professional Varnish
Use: For valuable works, commissions, gallery pieces

Permanent Varnish:

Purpose: Becomes permanent part of painting
Advantage: Simpler, more affordable, very durable
Disadvantage: Cannot be removed once applied
Brands: Liquitex Professional Varnish, Golden Polymer Varnish
Use: For personal work, less critical applications

Isolation Coat:

What it is: Permanent layer applied before removable varnish
Purpose: Protects paint layer, allows varnish removal without damaging painting
Composition: Soft gel gloss mixed with water (2:1 ratio)
Application: Applied before final varnish, must dry 24+ hours
Importance: Essential for proper conservation when using removable varnish

Spray vs. Brush-On Varnish:

Spray Varnish:

Advantages: Even application, no brush marks, fast, good for textured surfaces
Disadvantages: More expensive, requires ventilation, can be wasteful, harder to control
Technique: Multiple thin coats, keep can moving, 10-12 inches from surface
Best for: Small to medium works, highly textured surfaces, matte finishes

Brush-On Varnish:

Advantages: Economical, more control, builds substantial protective layer
Disadvantages: Risk of brush marks, dust contamination, requires technique
Technique: Use wide, soft brush, thin coats, one direction per coat
Best for: Large works, when spray isn’t practical, achieving thick protective layers

Application Instructions:

Preparation:

Wait for paint to cure: Minimum 2 weeks, preferably 3-4 weeks for thick paint
Clean painting: Gently remove dust with soft cloth
Work in dust-free environment: Wipe down workspace, consider damp mopping studio floor
Lay flat if possible: Reduces drips and runs (prop with books under corners)
Good lighting: Helps see wet varnish clearly

Brush Application:

Use wide, soft brush (2-3 inches) designated only for varnishing
Thin varnish if recommended by manufacturer (usually with water or specific thinner)
Load brush generously but don’t overload
Apply in long, even strokes in one direction
Work quickly and confidently—don’t overwork
Let dry completely (check manufacturer’s time, usually 24 hours)
Apply second coat perpendicular to first
Third coat optional, applied in original direction

Spray Application:

Work outdoors or in well-ventilated area with respirator
Shake can thoroughly (2 minutes)
Test spray on scrap first
Hold 10-12 inches from surface
Keep can moving—never stop in one spot
Use smooth, even, overlapping strokes
Apply 2-4 thin coats (thin coats prevent drips)
Wait 30-60 minutes between coats
Final coat should be very light

Common Varnishing Problems and Solutions:

Cloudy or milky appearance (blooming):

Cause: Moisture trapped in varnish, too cold, high humidity
Prevention: Varnish in low humidity, room temperature 65-75°F
Fix: Sometimes clears as it dries; may need to remove and re-varnish

Brush marks visible:

Cause: Varnish too thick, brushing back over areas, cheap brush
Prevention: Thin varnish properly, use quality soft brush, don’t overwork
Fix: Light sanding between coats, final coat very thin

Uneven gloss (shiny and matte spots):

Cause: Insufficient coats, inconsistent application
Prevention: Apply at least 2-3 even coats
Fix: Add another coat

Dust or hair in varnish:

Cause: Contaminated work environment or brush
Prevention: Clean studio, cover painting while drying, clean brush
Fix: Wait until dry, very gently sand, apply new coat

Varnish won’t dry:

Cause: Paint not fully cured, too cold, too humid, too thick
Prevention: Wait proper cure time, ideal conditions
Fix: Sometimes must wait weeks; in severe cases, remove and restart

Yellowing over time:

Cause: Using cheap or oil-based varnish
Prevention: Use quality acrylic varnish from reputable brands
Fix: If removable varnish, can be stripped and replaced

Varnish Brands Recommended:

Professional/Archival:

Golden MSA Varnish (removable, mineral spirit-based)
Golden Polymer Varnish (permanent, water-based)
Winsor & Newton Professional Varnish
Liquitex Professional Varnish

Budget-Friendly:

Liquitex Varnish (water-based)
DecoArt Varnish
Mod Podge (for crafts only, not archival)

When NOT to Varnish:

Paintings you may want to continue working on
Work on paper that will be framed under glass (glass provides protection)
Very fresh paintings (wait for full cure)
Extremely textured surfaces where dust contamination risk is high

Special Considerations:

For commissions and sales: Always varnish for protection and professional presentation. Document which varnish used for buyer’s records.

For mixed media: Test varnish on scrap first—some mediums react poorly to certain varnishes.

For outdoor art: Use UV-protective varnish and refresh every 1-2 years.

Storage: Store varnish in cool, dark place. Opened varnish lasts 1-2 years typically.

Varnishing transforms good paintings into finished, professional artwork. While it seems intimidating initially, following proper techniques makes it straightforward and rewarding.

Frequently Asked Questions

Q: How long does acrylic paint take to dry? A: To touch: 10-30 minutes depending on thickness and environment. Fully cured: 24 hours for normal layers, up to 2 weeks for very thick applications. Humidity and temperature significantly affect drying time—cold and humid slows drying, while hot and dry accelerates it.

Q: Can I thin acrylic paint with water? A: Yes, but with limits. Water up to 30% of paint volume works well. Beyond 50%, you risk breaking the binder, which causes poor adhesion and durability. For heavy thinning, use acrylic medium instead to maintain integrity.

Q: Why do my colors look different when dry? A: Acrylics dry slightly darker than they appear wet. This happens because the polymer becomes transparent as it dries, revealing pigment color more accurately. With practice, you’ll anticipate this shift. Student-grade paints show more dramatic shifts than professional grades.

Q: Can I paint acrylics over oils? Or oils over acrylics? A: You can paint oils over acrylics (after acrylics cure), but NEVER acrylics over oils. Acrylics are flexible and water-based; oils are rigid and oil-based. Acrylics over oils will eventually crack and peel. The rule: “fat over lean” means inflexible layers go on top.

Q: How do I revive dried acrylic paint? A: Once dry, acrylic cannot be reactivated with water (unlike watercolor). Prevention is key: store paint in airtight containers, add drops of water to palette regularly while working, use stay-wet palettes. Dried acrylic in tubes or containers is unfortunately unusable.

Q: Do I need to varnish acrylic paintings? A: Not strictly necessary, but highly recommended. Varnish protects against dust, UV damage, and scratches while evening out surface sheen. Most professional artists varnish. Skip varnishing only if work will be framed under glass or is purely experimental.

Q: Can I mix different brands of acrylic paint? A: Yes, absolutely. Different brands’ acrylics are chemically compatible and mix freely. However, quality differences may be noticeable—mixing student and professional grades will dilute the professional paint’s quality.

Q: What’s the difference between acrylic and acrylic gouache? A: Regular acrylic dries glossy/satin and water-resistant. Acrylic gouache dries completely matte and flat, more like traditional gouache, but remains water-resistant like acrylics. It’s popular for illustration and graphic design work.

Q: Can I use acrylic paint on fabric? A: Yes, but mix with fabric medium (2 parts medium to 1 part paint) to keep fabric flexible and washable. Without fabric medium, painted fabric becomes stiff and may crack. Heat-setting with iron improves washability.

Q: Why is my paint cracking? A: Common causes: painting too thick, applying layers before previous layer dried, adding too much water, using low-quality paint, painting in extreme temperature changes, or not preparing surface properly. Use thin layers and allow proper drying time between coats.

Q: How do I clean dried acrylic from brushes? A: Prevention is best—clean immediately. For dried paint: soak in isopropyl alcohol or brush cleaner, work product through bristles, rinse. Stubborn cases: use brush restorer products. Severely damaged brushes may be unrecoverable. This is why cleaning brushes immediately is crucial.

Q: Can I use house paint instead of artist acrylics? A: Not recommended. House paint lacks pigment quality, lightfastness, and proper formulation for fine art. It works for large-scale murals or temporary installations but not for artwork meant to last. Artist acrylics are formulated for permanence and color quality.

Q: What’s the best surface for beginners? A: Canvas panels or acrylic paper. Both are affordable, ready to use, and forgiving. They allow plenty of practice without significant investment. Graduate to stretched canvas when ready for finished pieces.

Q: How do I create an even wash with acrylics? A: Thin paint significantly with water or medium. Work quickly, use wide brush, paint in overlapping strokes. Consider tilting surface so paint flows. Add flow improver for smoother results. Acrylic washes are trickier than watercolor due to faster drying—work in small sections.

Q: Why do my colors get muddy when mixing? A: Mixing complementary colors (opposite on color wheel) creates neutral browns/grays. Too many colors mixed together also muddy. Use fewer colors, mix only 2-3 at a time, clean brushes between colors, and learn which combinations work. Color theory knowledge helps immensely.

Q: Can I paint acrylic in cold weather? A: Avoid painting below 50°F (10°C). Cold temperatures prevent proper film formation—paint may appear dry but won’t cure properly, leading to eventual failure. If working in cold studios, use space heater to warm painting area to at least 60°F (15°C).

Q: How do I store unfinished paintings? A: Lay flat or stand upright in dust-free area. Cover with clean cloth or plastic (don’t let plastic touch wet paint). Ensure paintings are fully dry before stacking. Store in stable temperature and humidity—avoid garages or attics with extreme fluctuations.

Q: What’s gesso and do I really need it? A: Gesso is acrylic primer that creates tooth (texture) for paint to grip. Pre-primed canvases already have gesso. You need gesso for raw canvas, wood, paper, and other unprepared surfaces. It improves adhesion and prevents paint from soaking in. Essential for proper painting foundation.

Q: Can I paint wet-on-wet with acrylics? A: Yes, but it’s challenging due to fast drying. Use retarder medium to extend working time, work quickly, or use OPEN acrylics designed for slow drying. Wet-on-wet techniques are easier with oils, but acrylics can achieve similar effects with practice and the right mediums.

Q: How do I achieve smooth blending? A: Use retarder medium, work quickly, keep paint wet with misting, use soft brushes, blend while paint is still wet. Alternatively, glaze thin layers to create optical blending. Many artists use dry-brush blending or work in small sections. Acrylic’s fast drying makes traditional blending difficult—it’s a learned skill.

Q: Is acrylic paint toxic? A: Most modern acrylics are non-toxic and safe for general use. However, some pigments (especially cadmiums, cobalts) contain heavy metals. Check labels for warnings. Always avoid ingestion, work with ventilation, wash hands after painting. Pregnant women and children should avoid paints with hazard warnings.

Q: Can I use acrylic paint outdoors permanently? A: With proper preparation and UV-protective varnish, yes. Surfaces must be properly sealed and primed. Apply several coats of UV-resistant varnish. Refresh varnish every 1-2 years. Murals and outdoor art require more maintenance than indoor work but can last years with care.

Q: What’s the difference between heavy body and soft body acrylics? A: Heavy body has thick, buttery consistency that holds brush/knife marks—like oil paint texture. Soft body is creamy and smooth, flows easily, but has same pigment concentration as heavy body. Choose based on technique: heavy body for texture, soft body for smooth applications and glazing.

Q: How much paint should I squeeze onto my palette? A: Start small—you can always add more. A dime-sized amount of each color is usually sufficient for small to medium paintings. Acrylics dry quickly, so less waste means more economy. As you work, add fresh paint as needed.

Q: Can I mix acrylic with oil paint? A: Never mix them directly—they’re incompatible. However, you can paint oils over cured acrylics using acrylic as underpainting. The reverse (acrylics over oils) will eventually fail. Keep them separate in your practice.

Glossary

Acrylic Polymer Emulsion: The binder in acrylic paint—plastic particles suspended in water that fuse when water evaporates

Airbrush: Tool that sprays very fine paint mist, requires thinned or high-flow acrylics

Alla Prima: Painting completed in single session while paint remains wet, Italian for “at first attempt”

Archival: Materials rated for longevity, resisting deterioration, fading, or yellowing over time

Binder: The substance that holds pigment particles together and adheres them to the painting surface

Blending: Merging two or more colors together smoothly without visible transition line

Blocking In: Initial stage of painting where basic shapes and values are established, usually with thin paint

Body: The thickness or consistency of paint—heavy body is thick, soft body flows easily

Brilliance: Intensity and vividness of color, related to pigment quality and concentration

Canvas: Woven fabric (cotton or linen) used as painting support

Chroma: The purity or intensity of a color, its saturation

Color Temperature: The warmth (reds, oranges, yellows) or coolness (blues, greens, purples) of a color

Complementary Colors: Colors opposite each other on color wheel (red/green, blue/orange, yellow/purple)

Composition: The arrangement of elements within a painting

Coverage: How well paint conceals underlying layers or surface

Crazing: Fine cracks in paint surface caused by improper application or drying

Dry Brush: Technique using relatively dry brush with small amount of paint to create textured effect

Extender: Additive that increases paint volume without changing color intensity

Fat over Lean: Principle of applying more flexible layers over less flexible ones to prevent cracking

Ferrule: Metal band on brush that holds bristles and connects to handle

Film: The layer of dried acrylic paint

Fixative: Spray that protects charcoal or pastel drawings; different from varnish

Flat Color: Area painted with uniform, un-modulated color

Flow: How easily paint moves off brush onto surface

Gel Medium: Thick acrylic medium that extends paint and creates texture

Gesso: Acrylic primer that prepares surfaces for painting, creates tooth

Glaze: Thin, transparent layer of paint applied over dried paint

Ground: The prepared surface ready for painting

Hue: The name of a color (red, blue, yellow); also suffix indicating imitation of expensive pigment

Impasto: Thick application of paint that stands up from surface, retaining brush or knife marks

Lightfastness: Resistance to fading when exposed to light, rated I (excellent) to V (poor)

Load: The amount of paint picked up on brush or knife

Mahl Stick: Long stick used to steady hand while painting details

Masking: Covering areas to protect them from paint, using tape or liquid masking fluid

Medium: (1) Type of paint (acrylic, oil, watercolor); (2) Additive that modifies paint properties

Modeling Paste: Thick paste used to build three-dimensional texture

Monochrome: Painting using single color in various values

Opacity: How well paint covers what’s underneath; opposite of transparency

Open Time: How long paint remains workable before drying

Overpainting: Adding layers of paint over dried underlayers

Palette: (1) Surface for holding and mixing colors; (2) Range of colors artist uses

Palette Knife: Flexible blade used for mixing paint or applying paint to canvas

Permanence: How well paint resists fading, chemical changes, and deterioration over time

Pigment: Colored powder that gives paint its hue

Plein Air: Painting outdoors from direct observation, French for “open air”

Primer: Preparatory coating applied to surface before painting, like gesso

Retarder: Medium that slows acrylic drying time

Saturation: The intensity or purity of a color

Scumbling: Applying thin, broken layer of opaque or semi-opaque paint over dry layer

Sgraffito: Scratching into wet paint to reveal underlayer or surface

Shade: Color darkened by adding black

Sheen: The level of gloss in dried paint—gloss, satin, or matte

Size/Sizing: Sealer applied to raw canvas before gesso to protect fibers

Solvent: Liquid that dissolves or thins paint; water for acrylics, mineral spirits for oils

Staining: When paint penetrates surface rather than sitting on top

Stay-Wet Palette: Palette with moisture system that keeps paints workable for days

Stippling: Painting technique using small dots or dabs to create texture or blend colors

Stretcher Bars: Wooden frame over which canvas is stretched

Support: The surface on which paint is applied—canvas, panel, paper, etc.

Tint: Color lightened by adding white

Tone/Toning: Overall color cast; toning is adding gray to a color

Tooth: The texture of a surface that helps paint adhere

Transparency: Quality of allowing light to pass through, revealing layers beneath

Turpentine: Solvent for oils, NOT used with acrylics

Underpainting: Initial paint layer establishing composition, values, and sometimes color

Value: The lightness or darkness of a color

Varnish: Protective top coat applied to finished paintings

Vehicle: The liquid component of paint—water in acrylics

Viscosity: The thickness or fluidity of paint

Wash: Very thin, diluted application of paint

Wet-on-Wet: Applying wet paint to still-wet paint to blend directly

Wet-on-Dry: Applying wet paint to completely dried paint layers

Final Thoughts

Acrylic painting offers an accessible entry into the world of visual art while providing depth and complexity that sustains lifelong exploration. Whether you’re creating your first painting or your thousandth, acrylics’ versatility, forgiveness, and vibrant possibilities make them endlessly rewarding. Start with basic supplies, practice fundamental techniques, and don’t be afraid to experiment—some of the most exciting discoveries happen through playful exploration. Most importantly, paint regularly. Consistency builds skills faster than sporadic intensive sessions. Welcome to the wonderful world of acrylic painting!

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A Guide to Acrylic Painting

A Guide to Acrylic Painting

What is Acrylic Paint?

What Do I Need to Start Painting in Acrylics?

What’s The Difference Between Professional, Artist, and Student Grade Acrylic Paint?

What Are The Different Types of Acrylic Paint Available?

Adding Mediums to Acrylic Paint

Brushes for Acrylic Painting

Palette Knives

Acrylic Primer and Acrylic Gesso

What Is The Best Surface for Acrylic Painting?

Making Your Own Canvas

Palettes for Acrylic Painting

Useful Tools for Acrylic Painting

Varnishes for Acrylic

Frequently Asked Questions

Further Reading

Glossary

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