Painting in acrylic polymer emulsion base paints with special emphasis on underpainting techniques
Date
200
Authors
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Journal ISSN
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Publisher
University of Delaware
Abstract
During the past decade a new medium for the painter has been introduced, the medium of pigments held by plastic rather than the familiar oil, water, or casein binders. This new medium would seem to presage a whole new development in painting because the binder (plastic) for the pigment can at the same time work as an adhesive, or as an agent for inclusions with which to build heavy and varied impasto effects which later can be carved and incised. Here is offered a new and exciting range of expermentation for the artist. ☐ The medium as paint handles very much like water color except that the paint does not flow quite as easily and the gesso surface does not absorb water. The paint film dries quickly, permitting a series of glazes to be built up without a long interval of waiting as is necessary in oil glazing. With the addition of white to the colors, the effect can be almost identical to gouache or some casein techniques. Oil paint may be applied on top of the plastic paint layer but never under it. ☐ However, it is the intermediate step possible in this medium that is of the greatest concern for this study. Paintings are worked on a rigid surface such as masonite, tempered hardboard, or plywood which has been coated with an opaque white liquid latex gesso. Before colors are used, an underpainting may be initiated using the polymer medium as an adhesive for a collage design, or by using a modeling paste of marble dust bound by an acrylic polymer emulsion. Additional materials may be mixed with this paste to create various textures or materials may be impressed into the paste leaving an imprint. ☐ The potentials inherent in the above underpainting techniques were the principle subject for experimentation for this thesis together with investigation as to the effects of the paints when applied to the various surfaces. There follows an illustrated record of the panels or painting together with conclusions reached after each of the three series of experiments.