On Painting with Acrylics ~ By Rick Delanty
When I first started painting professionally in the early ‘80s, I produced large watercolors up to 40 x 60 inches, glazed behind UV plexiglass. I thought I had found my “forever medium” until a collector told me that while he loved his painting, he was growing tired of seeing the reflection of his backyard in the glass. Museum glass wasn’t really an option for me at that time in my fledgling career, due to both its expense and weight, which increased shipping costs. I needed a water-based medium that didn’t require glass, and acrylics fit the bill perfectly.
Permanent, non-yellowing, and fast-drying, acrylics have low toxicity and no need of solvents for dilution or glazing. Like watercolor, they remain flexible when dry, and may be used both transparently and opaquely. Acrylics have come a long way since their introduction to the United States in the early ‘50s, and today come in a variety of viscosities: heavy body, soft body, fluid, and high flow. In addition, they can be easily thickened or thinned with a number of mediums.
When used outdoors, acrylics behave more like watercolor than oil, as far as logistics and process are concerned. You can lay down a toned ground and allow it to dry quickly before painting, and passages that need to be modified may be painted over opaquely with a
dry brush or palette knife almost immediately. And since the diluent for acrylic is water, you can paint just about anywhere you have access — an advantage over having to arrange for Gamsol while traveling, plus it’s free.
Acrylics also make planning your composition less complicated. You can make your value study right on the panel, then paint over it immediately, much in the same way artists of the Paris Salon employed a grisaille before painting in color. A painting that isn’t working need not be scraped off to begin again, but can be resurrected simply by beginning a new painting on top.
Outdoors, I paint more thinly than I do in the studio (texture buildup takes more time), so the consistency and faster drying time of acrylics is an advantage. Generally, I work one of two ways: I use the slow-drying Golden Open Acrylics, putting up my Wondershade umbrella only for high-heat situations, or I set up in the shade — with the back of my panel to the sun, spritz my paints frequently, use [Golden] Satin Glazing medium, and work as speedily as possible. Even when I paint in oils en plein air, I often apply them over an acrylic underpainting to take advantage of the quick drying time.
I would venture to say that a collector acquiring artwork in any medium is concerned about its longevity. They want the piece to be around long enough for them to enjoy it, and possibly even their children and grandchildren. That goes double for museum collections. So, how long will acrylic paintings last?
Although they took their early form as latex and house paints here in the U.S., they were quickly seized upon by professional artists, namely, Hockney, Frankenthaler, Lichtenstein, Rothko, and Newman. Today, the polymers and resins employed in this modern medium are being lightfast-tested to determine if they might actually outlast the binders and vehicles used in the manufacture of oil paints. Regardless of medium, however, we must use artist-quality materials if we want our work to stand the test of time. As a fine artist, I believe it’s my responsibility to know my materials and how they will combine to ensure longevity.
Collectors can be assured that professional artists who work in acrylics are just as dedicated to the quality of their work and career as are oil painters, and that the use of acrylics is not just a “learning tool” for artists on their way to painting in oil, but that painting in acrylic is a justifiable end in itself — especially when it results in quality work. As such, paintings in acrylic hold their value in the marketplace as well as watercolors or oils. It should go without saying that a great painting is a great painting, no matter the medium.
Join us for the inaugural Acrylic Live virtual art conference and learn from some of the top acrylic artists and faculty from around the world, including Rick Delanty. Acrylic Live is March 26-28, 2025, with an optional Essential Techniques Day on March 25. Register now at AcrylicLive.com!
Special Section: On Painting with Acrylics
• It’s easy to achieve “bright and bold” with acrylics. The challenge is to learn how to mix a variety of grays.
• An overall glaze of a “mother color” can unify a painting after all the underlying layers are dry.
• The more thickly the paint is applied, the more slowly it dries.
• Acrylic paintings may be sanded between layers to increase adhesion of subsequent layers or to create interesting textures, especially for grasses, foliage, or weathered surfaces.
• Synthetic brushes, both flats and brights, play a significant role in paint application due to their flexibility and capacity to create smooth gradations.
• When painting with acrylics, adding gels and mediums to the paint can improve your brushstrokes’ ability to hold their shapes and peaks.
• Joining a professional arts organization is a great way to learn from other artists working in acrylic. As a Signature member of ISAP (International Society of Acrylic Painters), I am continually inspired by the work of fellow acrylic artists.
• Varnish sprays can be applied after the painting’s completion to enhance its presentation with a matte, satin, or gloss finish.
Connect with the artist at www.delantyfineart.com.
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