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Defining “Luminous Effects”

13 thoughts on “Defining “Luminous Effects””

  1. Hey Sara, What a great article! As I’m sure you know I use “glazes” a lot in my work. I can’t agree more that many contemporary artist are just unaware of its power and beauty. I’ll be sharing this. – Roy

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  2. Thank you so much! I was watching a YouTube video on oil painting where the instructor made some disparaging remarks about acrylics. Acrylics have always been my go-to, but as of late I’m trying oils for portraits. I was taken aback by his comments. This article makes me feel better and gives me the desire to go back to acrylics for portraits…

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    • Hi Melinda – It’s too bad that someone so easily dismissed the viability of acrylics. Acrylics have their own strengths and are capable of a wide range of effects, including luminous glazes even in portraiture. It is true that oils allow for a truly enviable amount of time to blend edges, but acrylics have continued to make strides in this area, especially if you have never tried our OPEN Acrylics and OPEN Mediums, which can allow quite a bit of working time. They are less opaque than our Heavy Body or Fluids, but especially with glazes that is rarely an issue. Anyway, thanks for the positive feedback – it is always great to hear when an article is helpful. And if we can ever do anything else to help, always feel free to drop us a line at help@goldenpaints.com.

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  3. thank you for sharing your knowledge I have worked with egg oil tempera with great outcomes but the work I am doing right now is acrylic and it was great to hear your take on the subject because i am wanting to create luminosity throughout the works as in relationship with the subject of the painting. So thank you again.

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  4. It’s enlightening to know the science behind the intuitive, I came to acrylic from oils and by years of exploration ended up using them in layers. The result has been rewarding, but not without failures on the way. With oils verses acrylics, I find that the concept is the same but thinking differently is the practicality.

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    • Hi Nicholas –

      Am glad you enjoyed the article. And as someone who was trained and steeped in oils for the first 25 years as a painter, I can fully understand what you mean about the process of transitioning between the two mediums.

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