Making major changes in acrylic is not as difficult as many artist fear. Granted traditional acrylic artists do not have an easy redo or history options as digital artists have, but if you know what materials can help to reverse blatant errors, blunders or accidents, you can make just about any correction without any disruption to your surface and your viewers won’t notice any cover-ups.
I asked a fellow artist a critique of my Usagi painting before having the painting professionally digitized, and I was so grateful I did, as she pointed out I failed to notice how masculine her neck looked with obvious anatomical errors.
1) So the first thing I did was I went and scoured my photo-reference files to find a better reference material as close to the pose I had designed with my obitsu doll. After finding a better piece of photo reference, I went back to the original sketch and reworked the anatomy in Usagi’s neck to attach tendons correctly to her clavicle and feminize the structures. I then went onto the painting itself and transferred the new neck onto the painting itself from the sketch using the old rubbed graphite-trace method.
2) After establishing the new anatomical structure in Usagi’s neck, I took a very abrasive erasure (the Perfection 7058B Faber-Castell erasure) along with a softer Magic Rub pencil erasure and a Sakura electric erasure to dry lift as much of the pigment off the hot press watercolor board, taking care as not to gouge or pillage the surface. The electric erasure was used very sparingly as the surface was not gessoed. If I had gessoed the surface, I would have just used the Sakura and then re-gessoed. After lifting as much acrylic pigment as I could with the various dry lift approaches, I softly brushed off the pigment with rubbing alcohol using a foam makeup applicator brush and a concealer brush.
3) After lifting as much of the pigment as I could, I then airbrushed a white foundation to cover the unwanted pigment splotches using an Iwata CM-B airbrush at about 7 psi. I used Holbein’s Aeroflash Super Opaque White with a tiny bit of Aeroflash Luminous Orange into the white to cancel out the cool color shift that titanium white paint does which normally has an ugly greying effect when painted over warm flesh tones.
4) After smoothing out the new lights with the Super White mix, I went in with my semi-transparent flesh tone mixtures to re-establish tone, values, temperature and structure. I still have a little bit of subtle blending of temperatures to do.
If anyone has any questions please feel to ask!
Current Residence: San Diego, California|
Favorite musical artists: Ysa Ferrer, Yulia Savicheva, After Forever.
Favorite style of art: Magical Realism
Operating System: Windows 7
Favorite cartoon character: Usagi Tsukino, Spike