.
You might probably think that family and work has been kind to me to allow more painting and blog updates on this project. The truth is that this extra time provision has been a consequence of some revolutionary developments and revisions made to my acrylic painting techniques. Having gained some experience from using acrylic retarders, I decided that it will be helpful to formalize a short pictorial demonstration of how the oil painting technique Alla Prima or 'wet-on-wet' could be employed in acrylic painting.
Prussian Blue, Deep Orange, Flesh and Black in their original state (with no prior thinning needed) are dabbed over the moist ground. Note how the diffusion of the colors along their boundaries.
With the extended drying time, a stronger highlight color could be applied over the moist layer.
The sfumato effect could be created by blending the boundaries together with a dry brush (a la Bob Ross).
<div style="text-align: center;">
You might probably think that family and work has been kind to me to allow more painting and blog updates on this project. The truth is that this extra time provision has been a consequence of some revolutionary developments and revisions made to my acrylic painting techniques. Having gained some experience from using acrylic retarders, I decided that it will be helpful to formalize a short pictorial demonstration of how the oil painting technique Alla Prima or 'wet-on-wet' could be employed in acrylic painting.
<div style="text-align: center;">
