By Nancy Reyner
50 incredible techniques...for paintings that shines above the remainder!
From the writer of the best-selling books Acrylic Revolution and Acrylic Innovation, this ebook blazes new inventive territory with 50 concepts that harness the inventive strength of sunshine. starting from refined glazing on steel leaf, to pearly sheens, to boldly coloured optical results and shiny surfboard finishes, those ways signify the main asked elements of Nancy Reyner's well known workshops. 50 crowd pleasing suggestions function steel leaf, reflective paints, pouring, fluorescent and phosphorescent paints, refractive layering and optical colour results. probabilities are vividly illustrated with various paintings from forty four artists. A "Crash direction on Acrylic" bankruptcy bargains an outline of ways to take advantage of those flexible paints and items to their fullest strength. This hands-on advisor offers transparent step by step instructions to effectively execute those new and fascinating ideas. discover matte epidermis development, sheen transferring, embedding gadgets, patinas and polished stone results. Use those methods for natural, summary or sensible styles...as backgrounds, most sensible layers, or accents layered in between...combine, test, and permit your work shine.
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Additional info for Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques
Venturi, L'Artc, 1909, p. 84. VENICE AND THE NEIGHBOURING REGIONS. 57 that they belong to the school of Brescia but were executed under a strong Venetian influence (1). Lorenzo Veneziano occupies a very special place in the school of painting of his lIative town. Of the two conventional styles, the Gothic and the Byzantine, which constituted the chief characteristics of this school, it was the former which dominated our master. It is true that the appearance and curious proportions of his early works reveal his close connection with the Master ofChioggia who himselfwas a faithful follower of Maestro Paolo, but the resemblance to the works of this master, who was under a strong Byzantine influence, is quite external in Lorenzo's painting and I think that the opinion of writers of former generations, such as Lanzi and Cavalcaselle, that Lorenzo belongs to the group of "Byzantinized" artists, is wrong.
29 Among the anonymous works ofthe school of Maestro Paolo, a panel of the Coronation of the Virgin in the author's collection might still be mentioned (fig. IS). The composition is unusual, because not only are the figures in inverse order to the usual arrangement but rather a fantastic image of God the Father, placing a hand on each of the nimbi of the Saviour and the Virgin, is depicted behind. The folds of the draperies fall in fine Gothic lines and the decorative details are minutely executed.
Antony with St. Bartholomew and the Baptist with St. Francis (2). A point which differentiates the Madonna of the polyptych at Lecce (fig. II) from the other images is the absence of the Virgin's crown, and in this the picture resembles the altar-piece at Piove di Sacco (3). The Madonna at Lecce is depicted nursing the Child Who seems very intent on his little task. Again four saints are seen at either side and as in the polyptych at Chioggia their names are inscribed above; at Pirano the inscriptions were helow.
Acrylic Illuminations: Reflective and Luminous Acrylic Painting Techniques by Nancy Reyner