Sheri Gruver Wk4As1

Part 1
Study the following three acrylics paintings. Using your acrylics, try the techniques mentioned in the lectures and in these three paintings. Try at least four of the techniques shown in your textbook or from other sources. Use the “Teapot, Teacup” sketches from week 1 as a starting points for all four. Provide a verbal description of the techniques used.

Once these images are scanned place them in one document (DOC or PDF will be fine). Write your name on each sheet, and submit four sheets of your most interesting work to the Discussion Area. Submit your work as early as possible to the Discussion Area.

original teacup composition concepts

COLORED

Part 2

3) Did you discover any additional techniques not shown in the lesson or text? Tell us about them.

A technique I like to use is to try to be as loose as possible. Just trust your hand to make the correct choices in colors and placement of the paint. Just let your brain relax and focus on shadow, mid tones, and highlights. Take a step back every once in a while and look at your painting from a distance.

4) If there is a concept of using acrylic, how can it be improved?

A concept of acrylic is the fact that the paint dries so fast. The best thing of this is to use it to your advantage. Think of your painting in layers: background and foreground. Do your background first, and then apply your layers. Do a final sweep with final details and highlights. It’s also fun to layer splashes of acrylic wash too!

Part 3

Choose one painting and discuss the COLOR composition. In other words, does the color balance guide us through the image or does it keep our eye from going into certain areas? Be specific.

Description: Tutti-Fruitti by Helen Frankenthaler, acrylic on canvas, 1966.

I decided to discuss this painting because it encompasses the reason I love acrylic paint. It allows the artist complete freedom with being messy (easy soap cleanup) and a quick drying time. In this painting the artist used an acrylic wash in varying warm colors. These warm colors are then broken up with cool blue and negative white spaces. The eye is automatically drawn from the warm and comforting colors to rest on the more troubled blue in the top left of the painting. The eyes are then stuck at this spot. Even after looking at the painting again after a few minute, the viewer is automatically drawn to the bright blue area