Acrylics are a versatile water-based paint. They come in different forms with many possibilities for experimenting on different surfaces and with an increasing range of mediums and surface primers.

It took me a few years of playing around with acrylics before things started to click for me, and my ways of dealing with their various properties continue to evolve.

Illustration work

Because of their quick-dry nature, and being water-insoluble on drying, it's possible to develop passages of colour and detail very quickly, compared with my earlier tried and trusted watercolour and gouache approach. At first, I couldn't handle the speed at which the acrylic surface became unworkable, and so tried gel retarders which slow the drying process, but didn't like the consistency of the paint onto paper. Gradually, I used the paint with more water so that it became almost like watercolour in consistency, but benefitting from quickly building layers and glazes. For my illustration work, I've now phased out watercolour almost completely in favour of acrylics. I find that fine detail is better achieved with acrylics, especially along sharply-defined feather edges and for bill, leg and feet details. Since around 1980, I loved to use Frisk CS2 illustration paper, but it doesn't seem to be available now, other than in board form. Over the last couple of years, Fabriano 5 watercolour paper has become my preferred illustration surface.

Paintings

Medium Density Fibreboard provides a nice smooth, stable surface which can be prepared with several layers of Acrylic Gesso primer. I like to lightly sand away any bumps or imperfections, but find it desirable to retain a slight key to this absorbent surface. A 'tooth' to the primer can also be created by sanding the MDF, initially, which disrupts the surface before the primer is applied. MDF Dust (which can be harmful if breathed in) from the sawing or sanding process, can be added to the acrylic primer for a more gritty, textured surface. This is a little too rough for my current way of working.

Sometimes, I employ this white surface to illuminate areas of a semi-transparent paint instead of mixing white into the paint to achieve sunlit highlights etc. Occasionally, I mix Cobalt Blue and Bunt Sienna, for example, into the final coat of primer which gives a nice warm ground over which to apply the paint. This also gives the option of leaving some of the mid-toned ground colour to show through in parts.

I apply acrylics quickly and somewhat impressionistically in places, but my tendency has always been to work the important details in a more controlled and carefully brushed technique. I add a flow enhancer into my mixing water which I find gives a cleaner, more consistently diluted colour. For larger and more thickly applied areas, I do sometimes use a retarding gel to extend the working time of the paint, and also a matt medium to prevent glossy areas on the acrylic surface.