Acrylic Painting Quotes

I don’t know anything about art so I can’t tell you that it’s watercolor or acrylic or that it’s on canvas or anything art related at all. I can tell you that it’s a painting of a hand, my hand, turned up and opened to the world and that it reaches into my body and rips out everything that’s left. Because in the palm, right in the center, is the pearl button I never reached.

It was any outcast's nightmare. If I looked carefully, I suspected I might find it beneath the black paint of the small acrylic by the window.

During that war we had a word for extreme man-made disorder which was fubar, an acronym for 'fucked up beyond all recognition.' Well - the whole planet is now fubar with postwar miracles, but, back in the early 1960s, I was one of the first persons to be totally wrecked by one - an acrylic wall-paint whose colors, according to advertisements of the day, would '... outlive the smile on the "Mona Lisa".' The name of the paint was Sateen Dura-Luxe. Mona Lisa is still smiling.

She helps Holly and me to decorate the sky-blue bedroom with sparkly stars and a crescent moon painted in silver acrylic paint. We paint a wide, arching rainbow that stretches from one corner of the room to another. When my new baby sister looks up from her cot, she’ll see stars to wish on, a moon to soothe her to sleep, a slice of rainbow to remind her that magic is always just round the corner. I

The old master oil paintings were usually done in transparent oil colors on top of a black-and-white underpainting, which was often painted in egg temperas. My version of this technique was to start with a watercolor underpainting, which is fast drying like tempera, but I have an easier time controlling it. Then I seal the underpainting with a coat of clear, matte acrylic medium. That keeps the oil paints, which come next, from soaking into the paper, where they would turn dull and flat. Instead, thin layers of transparent oil paint can be smoothed into glowing colors and bold, glossy surfaces, with a depth and space that I don’t think can be gotten any other way. It isn’t easy to do, but when it works, the results can still surprise me.

You must tune everything else out and create from your heart." I nod, dipping my brush in red acrylic, then white, before mixing the paints on the palette until they form a perfect pink. I paint a peony, and then another. I somehow recall a garden, far away from here, where there were (are?) peonies. I remember the way the blossoms are so heavy that they flounce over, and I reach for another brush and dip it into green to get the stems just right.

So instead of not-writing, I am painting. I’m not a painter, but I make paintings anyway. I use glass and oil-based house paint, which is toxic, and which you can’t buy just anywhere anymore. It’s being phased out in favor of latex, which doesn’t stick to glass, and acrylic, which I haven’t tried. Stacked on my garage windowsill are seventeen quarts of the stuff in various primary colors, in case the whole world stops selling it. I love the oiliness, I love how it spreads on the surface of the glass, how tipped at an angle it rolls and drips, and merges. I love how one color overtakes another on the downward slide.

The biggest canvas is wider than my arm span. It’s bursting with so much color it looks like a graffiti artist got too excited with a spray can. But it’s my story, told in brushstrokes and acrylic paint. There's Jamie and me as children, hiding in trees and searching for ladybugs. There's me alone, searching for stars in the dark. There's my mom, the queen of the starfish, existing in a tornado of glitter that poisons anything else it touches. There are my brothers and me, living on opposite sides of a triangle, experiencing the same things but never together. There's my dad, never knowing or doing as much as he should but trying to fix the poison all the same. There's Hiroshi, painting my hands so I can paint my voice. There's me split in half—Japanese and white—stitching myself together again because I am whole only when I’ve embraced the true beauty of my heritage. And there's Jamie and me in June, the sun on our faces and the sand at our feet, finding each other again after all those years. Our lives trail around us, sometimes broken and sometimes beautiful, but all puzzled and tangled up into the lump that is us. We fit together not because we need each other, but because we choose each other. Our friendship was always our choice. Love was a natural progression. Jamie stares at the painting for so long that I think the room actually starts to get darker. When he turns to face me, he looks relieved. Calm. Jamie turns back to the painting. We don’t need words. We just know. Our fingers find each other’s.

I look for my paints, and when I find them, they are mostly congealed. It has been two years since I painted anything, but I have optimistically kept a bag of art supplies on hand. There is a dead mouse in the bag, and I have no idea how long it’s been in there. Because for two years I have slowly moved all my art supplies out of view. I have woken up from dreams where my hands are slick with oil and turpentine and lost the inspiration by the time I brushed my teeth. The last time I painted, I was twenty-one. The president was Black. I had more serotonin and I was less afraid of men. Now the cyan and yellow come out hard. I need hot water to make them mix. I work with the paint, let the acrylic dry, and when it isn’t right I rework it again. I remain as faithful as I can to scale. I mix thirteen shades of green, five

I stared at the exact view that she'd painted. I wanted to remember - what she'd said, the smell of tubes of acrylic scattered on the grass, the sharp tang of the cheese and ketchup sandwiches. I sat for what could have been minutes or could have been hours, but nothing came back to me. Nothing, except that flicker of an image of the two of us there.

I sucked in the pungent air and a palette knife of pain sliced through my skull as though my brain were a glob of acrylic paint.

There is an exercise I teach at colleges: Get yourself a canvas and a bunch of acrylics and go into a very dimly lighted room. Dip a brush into one of the colors, slap it on the canvas, don't look, close your eyes, make a painting, don't look, turn the lights on and see what you've got. I think this releases people from the editor in their life that's always standing over their shoulder saying, "Oh, you don't have any talent; who do you think you are?

Nostalgia clung to the wooden walls as bright as their glossy finish. Childhood memories held an entirely different feeling than my memories as a teen — they felt softer, richer, like streaks of acrylic paint across a canvas.

Childhood memories held an entirely different feeling than my memories as a teen — they felt softer, richer, like streaks of acrylic paint across a canvas. 

You must be open-minded.

Being open-minded allows you to absorb more information that you otherwise would not

You must also be persevering. Perseverance is being patient and dedicated at the same time.

it is important for you to know that the process of growing from a beginner to an advanced level artist is like a funnel. A funnel in the sense that the first area is rather narrow and small and the succeeding areas begin to get wider and larger.

Fear is a big hindrance to your dreams; it is what blocks you from achieving what you truly want.

See, I have this theory that humans are just living, breathing, talking forms of art, each crafted with a different technique and carved out of different materials. Each beautiful in their own way. And sure, beauty is in the eye of the beholder, and totally subjective, and changes depending on your circumstance, yada-yada-yada… but most of the time, it’s pretty easy to classify people. Like, okay, you know those women who are gorgeous and never know it? Or the men who pass quietly through life, handsome and unnoticed, never begging for attention or crying out for recognition? Those are your watercolors. And the loud, vivacious, gorgeous-and-they-know-it creatures, with bright lipstick and closets full of bold colors and outfits they never wear twice? Acrylics. The graceful, elegant, aging beauties you pick out in the crowd, or across the cafe, the lines on their faces telling a story you just know you’d want to hear, with so many layers and smudges, twists and turns, you’re not even sure where they begin? Charcoals. Then, you’ve got the big-picture-beautiful people, with the collection of interesting features that together make a beautiful face. They’re your oil paintings — best from ten feet away and, at the end of the day, kind of funny looking if you lean closer and analyze all their elements separately. But I’m quickly learning that Chase Croft doesn’t fit any of my categories. He isn’t a brushstroke on canvas, or bumpy layers of paint on a palette, or imperfect lines scratched inside a sketchbook. His features aren’t just gorgeous as a collective — he’s one of those annoyingly attractive people whose every feature is equally stunning. He’s a sculpture.

Okay, I’ll just go on to the next card.” He picks one up, pretending to read. “It says here, ‘Darling, is there life on Mars? Yes or no.’ ” Mack has gone back to thinking about the paintings. “I say no,” he says absently. “Hmmm,” says Quilty, putting the card down. “I think the answer is yes. Look at it this way: they’re sure there are ice crystals. And where there is ice, there is water. And where there is water, there is waterfront property. And where there is waterfront property, there are Jews!” He claps his hands and sinks back onto the acrylic quilting of the bedspread. “Where are you?” he asks finally, waving his arms out in the air. “I’m here,” says Mack. “I’m right here.” But he doesn’t move. “You’re here? Well, good. At least you’re not at my cousin Esther’s Martian lake house with her appalling husband, Howard. Though sometimes I wonder how they’re doing. How are they? They never come to visit. I frighten them so much.” He pauses. “Can I ask you a question?” “Okay.” “What do I look like?

We walked the length of Jackson Square, stopping to look at the work of a couple of artists who'd set up their sidewalk shops for the day. "Look." Eugenie stopped in front of an acrylic painting of a mustached man with curly dark hair, hooded eyes, and a big hooked nose. He looked like he'd steal the hubcaps off your grandmother's Cadillac. "It's Jean Lafitte, our most famous pirate," the artist said. "He was quite a character." She had no idea. She also had badly missed the mark on his looks. His hair wasn't that curly, he'd been clean-shaven the whole time I'd known him, his nose was straight and in perfect proportion to the rest of his features, and he didn't have hooded black eyes. Still, he might find it entertaining. "How much?" I asked.

Oh, oh Try not to think so much about The truly staggering amount Of oil that it takes to make a record All the shipping, the vinyl The cellophane lining, the high gloss The tape and the gear Try not to become too consumed With what's a criminal volume Of oil that it takes to paint a portrait The acrylic, the varnish Aluminum tubes filled with latex The solvents and dye, oh Let's just call this what it is The jealous side of mankind's death wish When it's my time to go Gonna leave behind things that won't decompose Try not to dwell so much upon How it won't be so very long From now that they laugh at us for selling A bunch of fifteen year olds made from dinosaur bones singing, "Oh yeah" Again and again Right up to the end Let's just call this what it is The jealous side of mankind's death wish When it's my time to go Gonna leave behind things that won't decompose, oh I'll just call this what it is My vanity gone wild with my crisis One day this all will repeat I sure hope they make something useful out of me

The enormous abstract expressionist paintings—spatters, streaks, whirls, and blocks of color thrown and squirted and spatulated onto the canvases—might have been produced by psychotic monkeys with access to a wide spectrum of acrylics, but in fact were the work of an acclaimed Los Angeles artist.

Back at Tittenhurst that night we tried to remove our acrylic tilaka without success. “The conservatives had a point after all,” I thought. It took us five days to remove the paint.

We got out, Otto,” she whispered, barely aware that Arlene had stopped banging outside and clicked away in a huff. “We got out.” Maybe it wasn’t much, this life—the room and its smell of stale cooking fat from the kitchen below, her occasional cheap treat of bad beer and a scrimped-for train ticket to New York to remember there were galleries with color and life and that much-missed smell of oil paint and acrylic. But it was a life, and any life was better than being dead. If she could walk back through the doors of those old Berlin cabarets now, they’d be peopled by ghosts: the less fortunate, so many of whom had died under pink triangles, red triangles, yellow stars, and all the other badges of hatred.