- Build the depth
At this point in a painting, I usually cover the
whole surface with a layer of Gloss Medium.
Once dry, this protective covering allows me
to glaze without the fear of making mistakes
because I can use a sponge to wipe away the
unwanted glazes without disturbing the other
layers underneath.
I’ve covered the exterior of the jug (except
for the gold trim) with a glaze of Payne’s Grey
to tone down the brightness and give it
three-dimensional shape. This can either be
done freehand with the cotton bud to correct
mistakes or by masking the outer edges with
liquid masking fluid.
- Remember less is more
I repeated the process from the previous step with the plate, adding a
subtle curved shadow that gets progressively darker. I also added a darker
area close to the bottom that gives the plate the appearance of concavity.
When painting shadows, it’s important to follow the adage “less is more”.
You can always add a glaze over an existing one to deepen the values, but
not the other way around. Subtlety is key and if you go too dark, quickly wipe
the glaze with a damp sponge before it dries.- Refine the details
Once satisfied with the glazing of the shadow
areas, I start refining details; darkening and
deepening some colours here and there,
adding a white glaze to the dark part of the
jug to mimic a reflective sheen, and finally
reinforcing all the highlights with multiple
layers of Titanium White. The final touch is
signing my name to the painting and leaving
it to dry for 48 hours.
- Finishing touches
Acrylic paint has microscopically tiny pores that attract dust over time so I always apply a UV
resistant, removable final varnish to my paintings. It also unifies the surface. Before applying
the varnish, I add a coat of Gloss Medium to the entire surface. This helps form a barrier,
meaning that if the varnish ever needs to be removed, the paint willbeprotected.