I made the decision early on that the two preening flamingos would be the painting’s focal point. I find that using a retarder or water to dilute the paint can also dull colour so try working on small pockets of the painting at a time instead to allow the opportunity to integrate the colour.
The quick drying time of acrylics, even with thicker applications, is hard to estimate – under normal conditions, it can take minutes rather than hours. If you intend to blend acrylics, it’s best to do so while the paint is still “live”. I wanted to do very little blending, so the painting process was more a case of weaving blocky marks together. I used a warmer combination of colours on a few of the flamingos to make them stand out with some marks delicately placed to avoid smudging.
For smaller dabs, I either used the edge of the brush or switched to smaller flats. I add creamier tints for highlights and blue-grey tints for shaded, cooler areas. The paint was used neat to add an impasto effect and colours were slightly under mixed to create some streaking, which mimicked the flow of feathers. STEP 2Įach flamingo was painted using a 1.5” flat brush, starting with a few semi-circular strokes for the body. The central pool of colour on your mixing tray or palette can then be split into sections as your mixes develop, with stronger reds, slightly more brown mixes, blues for cooler combinations, and a creamy mix with extra Titanium White. All the flamingos will have a combination of these colours so be generous with squeezing out the paint. On my mixing tray I began by adding plenty of Titanium White, reds, oranges and earth colours, along with small dabs of blues and purples using a slightly damp 2” flat brush. Working on a grey base colour mixed from Brilliant Blue, Burnt Sienna and Titanium White, I sketched out the flamingos to make sure everything fitted on the picture plane. Brushes: Daler-Rowney Skyflow large flat brushes, sizes 1/2”, 1”, 1.5” and 2”.Paints: Azo Yellow Lemon, Azo Yellow Medium, Azo Orange, Pyrrole Red, Primary Magenta, Quinacridone Rose, Ultramarine Violet, Permanent Blue Violet, Sky Blue Light, Brilliant Blue, Cobalt Blue (Ultramarine), Phthalo Blue, Greenish Blue, Prussian Blue (Phthalo), Permanent Green Light, Phthalo Green, Yellow Ochre, Burnt Sienna, Warm Grey and Titanium White, all Amsterdam Standard acrylics.
Ligher wtih white flamingo how to#
HOW TO PAINT FLAMINGOS WITH ACRYLICS Hashim’s Materials I based the painting on a photo I took at Berlin zoo. I will be talking you through how I painted a group of flamingos in acrylics, going through the various challenges and choices made. Look at everything other than how detailed the reference material is.
Ligher wtih white flamingo free#
It’s worth considering a few other options before you start your next wildlife painting to help it stand out from the crowd.įor starters, avoid obsessing over the source image and allow yourself to break free by using colours or marks more expressively. When it comes to painting animals, it’s common for artists to go for a photographic likeness, perhaps with a heavy helping of cuteness. Link copied to clipboard Instead of tackling a standard wildlife portrait, Hashim Akib shows how to go for a more painterly approach
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