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Digital Subscriptions > The Artist > Nov-17 > Seascapes on a textured ground

Seascapes on a textured ground

Follow Catherine Strong‘s tips for painting an impasto seascape using acrylics. She advises on the best way to achieve texture and how to mix the colours you’ll need
Ardnave Peninsula, acrylic, 233⁄4x311⁄2in (60x80cm)

Ipaint a lot of seascapes and for the vast majority of them I use a textured ground because it allows me to create considerable depth of colour without having to build up lots of thin layers of paint (glazing).

For the demonstration painting Low Tide (pages 62-63) I used two layers of acrylic paint, a thin underpainting and a thicker top layer, applied with knives, leaving some of the textured ground visible in the final picture. I’ve always admired the impasto marks of many of the impressionists and postimpressionists, and using thickly applied acrylic, mixed with structure gel or other media, can produce very satisfying and professional-looking results for the novice or advanced artist. I use Golden Molding Paste for my textured ground. There are many variations (light, coarse, with fibre, etc) and it is fun to experiment to see which you like best.

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About The Artist

Welcome to our November issue in which our highly talented, experienced artist-tutors challenge you to re-think your approach to complementary colours in watercolour, draw a sight-size self-portrait, capture an autumnal scene in watercolour, dramatise your skies, try graphite techniques, use negative spaces to your advantage, paint a light-filled interior in impressionistic style and master perspective for successful coastal scenes. And that's just for starters! Artist-judge in BBC1's The Big Painting Challenge, Lachlan Goudie, shares his experiences of painting Scotland's shipyards ahead of his forthcoming exhibition, Nick Poullis offers tips on setting up your own gallery, Julie Collins advises on colour choices for yellow, Michele Del Campo test reports Winsor & Newton's Artists' Oil Colours, including his top tips for oils painters, and Peter Burgess takes a practical look at materials for painting and how best to store them. Enjoy another inspirational issue packed with ideas and advice for all artists!
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