After many years working in watercolor, I was approached by one of my clients to produce a painting for them, only this time the painting was to be displayed in a public place where the painting needed to be both vibrant and durable. Discussing the unique needs of the artwork, we considered our options and decided to take an exciting side step into acrylics. With that commission and shift in medium, a whole new and beautiful world was opened up to me. This article takes a look at my journey and work in acrylics, a new medium I’ve grown to thoroughly enjoy! 

White Waratah, acrylic on board, 171/3 x 12½” (44 x 32 cm)

 

While a shift in medium brings significant changes to the language of my paintings in itself, my focus remains firmly on natural history subjects. Very deliberately, I wanted to cross over my watercolor painting techniques into the new medium as closely as possible. This allowed me to take what I love most about my work and practices, applying it to a new medium for some really beautiful new results, and at the same time, capitalize on the new and unique qualities of the acrylic medium. 

The new, high flow acrylics seemed to meet me in the middle, and off I went, exploring. While acrylics may not have the romance of watercolor, the new possibilities and characteristics of the medium were exciting to me, and I felt immediately and intimately familiar with its language. Since the first commission, I’ve gone on to create both botanical illustration and bird painting studies in this medium, and I can truly say that I love so much about it. 

Just as painstaking as realistic watercolor, I jumped right into the deep end, working bold and large with dramatic rich backgrounds, enjoying opening the door on all the things watercolor can be a little more limiting for. In this space, I could work larger, throw paint around and change it at any time, which was a novel delight. The trickiest part of this shift was the brain switch of working from light to dark (watercolor) versus dark to light (acrylic). Other aspects that take some getting used to: working on board, with gesso, with more opaque paints, white paint, worn brushes, a firmer hand, paint that dries out so fast, the challenge of creating soft edges, and colors that don’t naturally merge and blend together.

Silvereye and Blueberry Ash, acrylic, 12 x 8¼” (30 x 21 cm)

 

Still, on the upside, I love the workability, versatility, durability, intensity, drama and permanence acrylics bring to the table. Like any medium, it’s about practice and familiarity—about building a relationship. All said and done, taking the precision out of me simply isn’t happening. I knew that and I didn’t want to change this aspect of my work at all, so I continued on as planned, applying my natural hand for detail to the mix, developing each painting in intricate, delicate layers with precision and intricacy, just as I would in watercolor. The results have been beautiful in this new, dynamic and exciting medium.  

My Art in the Making Flamingos, The Great Romance

Mesmerized by this story, my goal in representing it in a painting was to capture and convey its story, drama and outrageous beauty, just as nature was telling it. The incredible movement and intimacy of the relationship between the birds lay at the heart of it all, and the intensity of the dark surrounds amplified the moment so well. I went large in order to create the emotion and impact needed to make you feel as if you’re almost immersed in the scene yourself. 

Stage 1

Stage 1  Mapping It Out

With the composition and size decided and my board prepared, I start drawing my painting up. Far less precise than my watercolor works, I’m mapping my way into the subject loosely to guide me into the painting stages.

Stage 2

Stage 2  Adding Terracotta Gesso

Refining my drawing, I work now in terracotta gesso to create a loose, warm, earthy undertone for my painting. Already we can see the birds emerging, each stroke refining the composition and elements on my board. 

Stage 3

Stage 3  Refining the Terracotta

With the foundation roughed in, I refine the terracotta with black, instantly bringing depth and contrast to the scene. Working in layers creates subtlety, warmth and interest within my darkest tones.

Stage 4

Stage 4  Starting the Birds

I shift into my pink, white and scarlet to lay down a rough foundation of each bird, taking care to capture the subtlety and uniqueness of each. 

Stage 5

Stage 5  Creating Complex, Rich Tones

Refinement continues, developing complexity, rich color, tone and form in many delicate layers to create texture, detail and life in each of the flamingos. With the birds roughed in as individuals, I start refining them now as a whole.

Stage 6

Stage 6  Final Adjustments

Putting the final touches on the painting at last, this image really starts to give you a sense of size and scale, my head and palette visible in the top left corner of the image. What a divine tangle. Even I feel completely immersed in this story now. 

Stage 7

Stage 7  Finished Artwork

Flamingos, The Great Romance, acrylic on board, 47¼ x 47¼” (120 x 120 cm)
Several months of long studio days has come to a beautiful close at last, birthing a painting of this incredibly beautiful moment into the world to be enjoyed. I loved telling every bit of this story.