Acrylic Revolution by Nancy Reyner

This book is a terrific compendium of techniques and information on Golden acrylic paints and mediums. The author is a part of Golden’s “practicing artist’s” program. Some of the techniques in her book are described elsewhere by other authors (e.g., using sprayed water or alcohol to create texture, mixing interference colors with black to increase the effect), but as a fan of Golden acrylics, I learned much useful information which I put to immediate use in my painting. For example, I used Reyner’s advice on mixing fluid metallic acrylics (stainless steel and micaceous iron oxide) with “modern” transparent colors (see p . 110) to solve a value and texture problem in my recent work “Tiles Series V, No. 1” I also used Reyner’s suggestion to apply several isolation coats to create depth and luster – she advises using soft gel mixed 3:2 with water (p. 105, 113). In addition to brushing this on, Reyner gives suggestions for pouring (pp. 115, 116) and spraying (p. 74) an isolation or final coat of clear medium. I used such isolation coats in the aforementioned “Tiles” work, as well as two recent landscapes (see e.g. the work on my home page). Some of my additional favorites from the book are:
• I often use tape to create edges In my “Tiles” series. Prior to reading Reyner’s book I had used matte gel medium to create a clean edge, but this doesn’t work well with applications where I am trying to achieve an overall glossy finish. Reyner suggests using GAC 500 when taping edges (p. 82).
• Reyner also suggests ways to make the surface smooth and “brushless” (p. 92) which is always an issue with isolation coats and final varnishes.
Some of the tricks I haven’t yet tried but intend to use:
• Using clear tar gel in various interesting ways (pp. 93, 111 – 112)
• Using Golden polymer medium as a resist (p. 41)
• Using crackle paste to create a “fresco” effect (p. 64)
• Using Golden light molding paste (instead of white paint) to tint colors (p. 96)
• To create an opaque look with transparent paint, first apply a tint of the color, then glaze the undiluted color over the tint (p. 98)
• Applying Absorbent Ground to a painting in progress to correct mistakes (p. 101)
• Applying gels to create textures on ink jet prints (p. 114)
• Using Interference acrylics mixed with traditional colors (there is also an article on this on the Daniel Smith website) – Reyner notes that the modern transparent pigments work best and that adding gloss gels increases the effect (p. 108).

Reyner includes several inspiring sample paintings (e.g., p. 41, 110, 120).My only criticism is that there are not enough illustrations for all the techniques she includes and the images of the sample art works are too small to see the detail. Overall, however, I recommend this book to anyone who is interested in experimenting with acrylic techniques and mediums. If you use Golden products, the book is a must read. You can order the book at www.nancyreyner.com/book.htm