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.
Further Reading
Books on Acrylic Painting Techniques:
“Acrylic Painting For Dummies” by Colette Pitcher – Comprehensive beginner’s guide covering all basics clearly and accessibly
“The Acrylic Painter” by James Van Patten – Professional techniques, color theory, and step-by-step projects for intermediate artists
“Acrylic Innovation” by Nancy Reyner – Explores creative possibilities and unconventional techniques with acrylics
“Color Mixing Bible” by Ian Sidaway – Essential resource for understanding color relationships and creating any hue needed
“Acrylic Painting: A Complete Guide” by Lorena Kloosterboer – Detailed exploration of techniques from beginner through advanced levels
Color Theory:
“Blue and Yellow Don’t Make Green” by Michael Wilcox – Challenges common color mixing myths with practical science
“Interaction of Color” by Josef Albers – Classic text on color relationships, essential for serious color study
“Color and Light: A Guide for the Realist Painter” by James Gurney – Practical approach to understanding color in realistic painting
Composition and Design:
“The Artist’s Complete Guide to Drawing the Head” by William Maughan – For portrait artists working in any medium
“Composition of Outdoor Painting” by Edgar Payne – Classic text on landscape composition principles
“Mastering Composition” by Ian Roberts – Clear explanation of design principles for compelling paintings
Online Resources:
YouTube Channels:
- Paint Coach – Techniques, tutorials, product reviews specifically for acrylics
- The Art Sherpa – Beginner-friendly step-by-step acrylic painting
- Malcolm Dewey – Professional techniques and tips
- Jazza – Creative, experimental approaches
Websites:
- JustPaint.org – Golden Paints’ technical information site, invaluable for understanding materials
- WetCanvas.com – Community forum for artists of all levels
- EmptyEasel.com – Articles on techniques, business, and art career development
Manufacturers’ Technical Guides:
- Golden Artist Colors (www.goldenpaints.com) – Extensive technical information, application guides
- Liquitex (www.liquitex.com)
- Technique libraries and tips
- Winsor & Newton – Product information and educational resources
Courses and Learning Platforms:
- Skillshare – Hundreds of acrylic painting classes for all levels
- Udemy – Structured courses from basics through advanced techniques
- Craftsy – Detailed instructional videos from professional artists
- Local art centers – Hands-on classes with immediate feedback
Magazines:
- The Artist’s Magazine – Mixed media but regular acrylic content
- Acrylic Artist – Dedicated specifically to acrylic painting
- International Artist – Global perspectives on painting
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!
