stop i was literally researching underpainting with acrylics RIGHT NOW because i saw your still life painting short last night!! your art is beautiful, thank you so much for this tutorial
I love your work! I just have one question. Why did you use a bright lime green underpainting instead of a burnt sienna underpainting? I notice you and some other artist do this technique and it sort of confuses me. I would love an explanation. Thanks!😀
Thank you! Great question. Assuming you want a full spectrum/contemporary color palette, I usually recommend a split primary color palette. This is basically a warm and a cool version of each of the primaries. If you want a more specific recommendation here are the specific paints I have my workshop students buy: titanium white, cadmium yellow light, yellow ochre, cadmium red medium, Quinacridone magenta, ultramarine blue, and Phyhalo blue (green shade). If you notice there’s no neutral (except for white) and no secondaries that’s because I’m a huge proponent of learning to mix your own. I have a palette tour video where I talk about how to approach a limited palette that might be helpful too! I know I just threw a lot of info at you but I hope it helps💕 happy painting 🥰❤️
@@notsorryart thank you so so much Sari for all that information. I really appreciate it . I willl check your color palette video. I didnt realize that you already have video talking about that. 💕
Interesting you say that acrylic painters tend to start with very highly saturated colours. I tend to find it difficult to get my acrylics looking really vibrant, like some oil paintings I've seen. So I thought it was to do with acrylics specifically... maybe I am going about the painting wrong...
Hmm interesting. Do you mean you struggle with vibrancy straight from the tube? Like, if you swatched them on white paper the colors wouldn’t be vibrant? Or are you struggling with vibrancy just in the context of a painting? If it’s both, likely it’s the paints. If it’s just the later you might be struggling to give the parts of the painting you want to “pop” enough context. The vivid and opaque quality of acrylics often means you have to intentionally mute a lot of the painting in order to get the colorful parts to stand out. This upcoming Monday I’m posting a limited color palette exercise that explains this concept much better than I can type it out lol. 🥰
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This was wonderful and so helpful
Glad it was helpful!💕
stop i was literally researching underpainting with acrylics RIGHT NOW because i saw your still life painting short last night!! your art is beautiful, thank you so much for this tutorial
Glad I could help!🥰happy painting!!
Really helpful🌟
I'm so glad!💕
I love your work! I just have one question. Why did you use a bright lime green underpainting instead of a burnt sienna underpainting? I notice you and some other artist do this technique and it sort of confuses me. I would love an explanation. Thanks!😀
I likey
Beautiful painting, Sari. May i ask whats your 6-8 acrylics color recommendation for beginner? I would like to try Golden heavy body or Liquitex one.
Thank you! Great question. Assuming you want a full spectrum/contemporary color palette, I usually recommend a split primary color palette. This is basically a warm and a cool version of each of the primaries. If you want a more specific recommendation here are the specific paints I have my workshop students buy: titanium white, cadmium yellow light, yellow ochre, cadmium red medium, Quinacridone magenta, ultramarine blue, and Phyhalo blue (green shade). If you notice there’s no neutral (except for white) and no secondaries that’s because I’m a huge proponent of learning to mix your own. I have a palette tour video where I talk about how to approach a limited palette that might be helpful too! I know I just threw a lot of info at you but I hope it helps💕 happy painting 🥰❤️
@@notsorryart thank you so so much Sari for all that information. I really appreciate it . I willl check your color palette video. I didnt realize that you already have video talking about that. 💕
Interesting you say that acrylic painters tend to start with very highly saturated colours. I tend to find it difficult to get my acrylics looking really vibrant, like some oil paintings I've seen. So I thought it was to do with acrylics specifically... maybe I am going about the painting wrong...
Hmm interesting. Do you mean you struggle with vibrancy straight from the tube? Like, if you swatched them on white paper the colors wouldn’t be vibrant? Or are you struggling with vibrancy just in the context of a painting? If it’s both, likely it’s the paints. If it’s just the later you might be struggling to give the parts of the painting you want to “pop” enough context. The vivid and opaque quality of acrylics often means you have to intentionally mute a lot of the painting in order to get the colorful parts to stand out. This upcoming Monday I’m posting a limited color palette exercise that explains this concept much better than I can type it out lol. 🥰
@@notsorryart I'm not sure to be honest 🤣 but I think maybe the latter.... I shall look out for your upcoming video as well, thank you!