ACRYLIC PAINTING

Marianne
A complete guide for
beginner artists

VANDER DUSSEN
VISUAL ARTIST
A B O U T T H I S E B O O K

I am so excited to launch this ebook as a support for your

artistic journey!

Being a self-taught artist, I endured years of trial and error

before settling into.a groove that felt comfortable. I ruined
paintings through ignorance. I obsessed over trying to find
best practice, only to discover that best practice is a fluid
term that means something different to every working artist.
I wrestled with perfectionism, grappled with insecurity, but
remained committed to the craft. Now, I'm here to guide
you through that same journey.

This free eBook is designed as a launchpoint to help you sort

through the endless list of materials and techniques and
focus on what really matters: getting lost in your work. Be
sure to tag me on social media in the amazing work that you
produce so I can see your creations, and thank you for
letting me be a part of your journey.

C O N N E C T W I T H M E

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ABOUT ME

Hi, I'm Marianne! I'm an artist, educator, podcaster,

mom of twins, and proud northerner. I love what I do,
and feel blessed beyond belief to be able to share it.

Having worked now for several years as a professional

artist, I entered into my practice with zero formal
training. All I knew at the time was that painting felt
good, and I wanted to continue to push myself to do
better. This intense desire to learn has been my
constant companion, and I am still growing alongside
you. We're all in it together.

I designed this book for anyone and everyone who

wants to paint. You don't need art school to be an artist;
all you need is passion and a willingness to learn. I can't
wait to support you on your journey forward.

mariannevanderdussen.com | page 03
N O W A V A I L A B L E !

PAINTING FLOWERS IN ACRYLIC

FULL COURSE OUT NOW!

After pausing my painting As a thank you for supporting me

practice for seven months to in this journey, I’d like to offer
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am beyond pleased to present of my full coursepack (which
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ebook) and lifetime membership
This course is 7.5 hours long, to my private Painting Course
comprised of 23 lessons. You’ll Community. The conversation in
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mixing tones, colour mixing,
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mariannevanderdussen.com | page 04
 8
CHAPTER ONE
PAINTS, BRUSHES & CANVASES
working with a limited palette,
choosing the right brushes, &
selecting a painting surface

16
CHAPTER TWO
PREPPING YOUR SURFACE
priming, sanding & the drawing

20
CHAPTER THREE
SETTING UP YOUR PALETTE
using a wet palette, arranging
CONTENT

your paints

23
CHAPTER FOUR
INTRODUCTORY TECHNIQUES
mediums, blends & brushwork

29
CHAPTER FIVE
VARNISHING YOUR WORK
protecting your work from
time & the elements

32 CHAPTER SIX
SHOPPING
making the art store easy

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T H E E X E M P L A R -
F O G G Y F E N C E

"The Violet Hour: Foggy Fence" (16" x 20", acrylic on canvas, 2021, by Marianne Vander Dussen)

Throughout this book, I will be using the painting of Foggy Fence as

my example for the various techniques that I am teaching. A copy
of this image will be available on my website for you to download,
and you can also watch the tutorial by heading to my YouTube
page (www.youtube.com/user/mvanderdussen).

I took the reference photo during an extraordinarily foggy night at

my parents' farm in southeastern Ontario. It is the third time that I
have turned their property into a painting, and I am honoured to
provide you with the same opportunity to paint it.

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G E T T I N G
S T A R T E D

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 1
P A I N T
B R U S H E S &
C A N V A S E S
The first time I set foot in a real art
store, I was completely overwhelmed.
All I wanted were the primary
colours, and instead I found myself
looking at names like cadmium red,
cobalt blue, and burnt umber.

I made expensive mistakes that day,

and bought colours I didn't need and
still never use. I mostly use a limited
palette of just five colours,
occasionally dipping into another
colour if the painting justifies it.

This chapter will cover the difference

between student and artist grade
paint, go over the colours in my
limited palette, and give an
introduction to brushes and painting
surfaces.

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 Spoiler alert: the primary colours are not
red, yellow and blue. Consider a printer,
which must use the real primary colours
to be as accurate as possible: cyan,
magenta, and yellow.

This is why shopping for red, yellow and

blue is somewhat futile when painting in
acrylics. Historically, artists didn't know
with scientific accuracy what the true
primaries were; instead, they used the
pigments that were available to them.

The colours that form my core limited

palette are: alizarin crimson, cadmium
yellow light, ultramarine blue, burnt
umber, and titanium white. While
ultramarine and burnt umber can be
mixed to create a black, you can also add
mars black to your shopping list for
painting the canvas edges black.

W O R K I N G W I T H
A L I M I T E D
P A I N T I N G
P A L E T T E

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S C A F F O L D I N G F R O M Y O U R
L I M I T E D P A L E T T E

Working with just five paint colours offers a

surprisingly versatile palette, which can provide
the foundation for the majority of your work.
However, once you are ready to commit to the
practice, you may wish to invest in a few
additional colours to round out the palette.

Many artists work from a split-primary palette,

which would add cadmium red medium, cadmium
yellow medium, and phthalo blue to your core
five. If you're looking to mix a brilliant teal, you
definitely need to add phthalo to your palette.

Other colours I like are burnt sienna (a lovely

warm brown I use in landscapes), sap green (a
relatively neutral green I use as a base for grass
and trees), and dioxazine purple (a rich purple
that's great in sunsets and water).

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 S T U D E N T , I N T E R M E D I A T E &
A R T I S T G R A D E P A I N T S

S T U D E N T I N T E R M E D I A T E A R T I S T

Student grade Intermediate paints Top of the line and

paints are strike a balance archival, where a
affordable, and between little goes a long
typically made with affordability and way. Prices are
cheaper, synthetic quality. They have determined by the
ingredients. Paints higher pigment cost of the
contain a low loads, but are still ingredients
pigment load and often synthetically required to make
are not guaranteed produced. They the paints (usually
to be archival usually have a flat priced by series,
(meaning that they rate that doesn't where 1 = least
may not maintain fluctuate, expensive).
their vibrancy over regardless of the Requires a major
time). colour. investment.

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 B U I L D I N G Y O U R
B R U S H C O L L E C T I O N
CHAPTER ONE | PAINT BRUSHES & CANVASES

I rarely throw out old brushes. Even the scraggly,

splayed brushes can act as wonderful blending
tools. However, nothing can quite replace the
beautiful feeling of a new brush gliding
effortlessly across a canvas.

While brushes come in nearly every shape under

the sun, beginners can focus on acquiring flats
and rounds before building out their collection.
Typically, you'll need a few large (size 10+), some
mediums (6-8), some smalls (2-4), and detail
brushes, which are anywhere from size 0-000.

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 B E G I N N E R B R U S H E S

While there are many different kinds of brushes available, for the purposes of
this resource, I will be highlighting the three that I believe will provide the most
versatility for a beginning artist: flats, rounds, and filberts.

F L A T R O U N D F I L B E R T

Shaped like a Round brushes are Filbert brushes are

chisel, I absolutely excellent for similar to flats, but
love the versatility blending, and with rounded tops
of flats, and they filling in more that allow to
are typically what I organic shapes. I shading in trickier
use most when I'm use rounds for areas. They are
working. When curves, dabbing in somewhat of a
pushed flat by silhouettes such as balance between
removing excess trees or rocks. If rounds and flats,
paint, they create the brush is new or able to carry a
razor thin lines that has a nice pointed decent amount of
I use for creating tip, it can also also paint while also
wood grain, ripples be good for detail being able to softly
in water, and so work, as long as the follow curves and
much more. paint is thinned. forms.

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 C H O O S I N G A C A N V A S
O R P A I N T I N G S U R F A C E
CHAPTER ONE | PAINT BRUSHES & CANVASES

While canvases are my favourite painting surface

to work on, they are only one option of many.
Regardless of whether you are just starting out or
are more well-seasoned, the best artists keep
their skillsets fresh by producing smaller works,
typically called studies, on smaller canvases or
panels.

Panels and canvas boards provide a lovely, less

expensive option to canvases and are far more
easily framed. I like to use masonite for my
smaller panels, as the surface is nice and smooth.

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 C A N V A S E S , B O A R D S & P A N E L S

Similar to the brushes, the three surfaces that I have chosen to focus on
represent only a snapshot of the possibilities. Acrylic paint is incredibly
versatile, and can be used on almost all paintable surfaces.

C A N V A S E S C A N V A S B O A R D S P A N E L S

I typically look for Canvas boards are Panels are a catch-

made in North when canvas is all term for
America, heavier glued to a surface, masonite, birch,
weight (225g+). usually a specific hardboard, MDF,
Canvases come in a kind of cardboard. and more. They are
variety of widths, It offers the surface the surface most
the most common of a canvas, but at a often used for
being regular considerably lower studies en plein air.
(0.75") and gallery cost, and is much Panels can warp
(1.5-2"). I use both, easier to frame. over time if they
but gallery means This is a great are not cradled
that framing is surface for artists (supported by a
optional, and my just starting out, frame) so they are
customer may who want to add a best for smaller
choose to leave it frame to their works and studies.
unframed. completed piece.

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 2
P R E P P I N G
Y O U R S U R F A C E

When I first started painting, I was

using dollar store canvases that
easily warped and indented, and
had no idea that additional steps of
preparation made such a
fundamental difference in how the
paint moved across the canvas.

After watching countless tutorials

and reading several books, I have
developed a consistent method of
preparation that I use on all my
painting surfaces, whether it's
canvas, board, or panel.

You will need: your painting

surface (I am using a 16" x 20"
gallery profile canvas), artist grade
gesso (a fancy word for art-specific
primer), a foam brush, a fine
sandpaper block (220+) and a toning
paint colour (I usually use yellow
ochre on my own work, but if you
are using your limited palette, I'd
recommend using burnt umber).

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C R E A T I N G Y O U R G E S S O B L E N D

To properly prime your painting or old container. Add a little bit of

surface, you'll be making a water to loosen it up, but no more
custom blend of gesso, water, and than 25% of the amount of gesso
paint. My favourite artist grade you used. I often add it in slowly,
gesso is Liquitex Professionals using a water bottle or glass. Add
Gesso, which comes in a bottle a small amount of your toning
and is easily squeezed out. Other paint colour.
reputable companies, such as
Golden, have gesso in tubs, but I Using your foam brush, combine
prefer the viscosity of the bottle. the gesso, water and paint until
smooth. Apply in smooth strokes
To make your blend, start by to your painting surface,
adding some gesso into a bowl monitoring for drips on the sides.

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S A N D I N G Y O U R S U R F A C E S M O O T H

Once you've applied your custom Using small circles, work your
gesso blend to your canvas, board way around the canvas or surface
or panel, and have allowed it with the sanding block. When
ample time to dry, you'll be done, use a slightly damp
sanding it smooth. microfibre cloth to clean up any
lingering dust on the surface.
I usually start with a 220 grit
sandpaper, and if the surface I repeat this process at least two,
needs an extra level of typically three times. Once
smoothness, I'll follow up with a finished, I will usually paint the
320+ grit. I'll also dampen the edges of the canvas black, as I
block that I'm using to avoid dust prefer this to wrapping the
flying into the studio. painting.

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 T R A N S F E R R I N G Y O U R D R A W I N G

There are several methods of applying your drawing to the canvas, but I find the
grid to be the most beginner-friendly. You can choose to use a coloured pencil to
apply your initial drawing, or you can go straight in with paint (as I do).

S E T U P T H E G E T Y O U R S Q U I N T
G R I D B E A R I N G S

Using thin painter's Determine the focal As this is just the

tape, create a grid point of the drawing, squint
on your reference painting; in my your eyes to figure
image (I used thirds example, it's the out the most
in this example). fence. I prioritized important
Apply the same ratio getting this onto the components. If you
to your surface. I use canvas, so that it was can't see it when
coloured pencil, positioned nicely squinting, you
because graphite within the grid. If I don't need to draw
tends to smudge and made mistakes with it in. Focus on the
make the paint the paint, I'd wipe it darkest elements of
dirty. Use watered off immediately the piece or
down burnt umber with damp paper important details.
paint to sketch on towel or a Q-tip.
the drawing

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 3
S E T T I N G U P
Y O U R P A L E T T E
One of the benefits and frustrations
of acrylic paint is its very short dry
time. Acrylic paint dries to the
touch usually in less than 15
minutes, and you can typically layer
with total peace of mind after an
hour. Where this can become
frustrating is on your palette, and
when you go to reach for a colour
you created only to find that it's
dried out and hardened.

My wet palette is homemade,

though you can buy pre-made wet
palettes from any art retailer. While
I use an enamel butcher's tray, you
can also use a cookie sheet that you
pick up from a second hand store if
you are on a budget.

You will need: a tray (I use a 10"x15"

enamel butcher's tray), paper towel,
wax or parchment paper, and water.

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 C R E A T I N G A H O M E M A D E
W E T P A L E T T E

S T E P O N E S T E P T W O S T E P T H R E E

Add two layers of Dampen the paper Place a piece of

paper towel to the towels until they wax or parchment
bottom of your are wet, but not paper on top, and
painting tray. dripping. I rotate press down to
the tray around to adhere it to the
ensure the water is damp paper towel.
spread evenly.

While aggressive scrubbing of the brush may tear the paper, this
combination will keep your paints nice and damp for hours. You can
also do this inside of a large, flat container that comes with a lid, and
put the lid on while not using it to keep the paints wet for longer.

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A R R A N G I N G Y O U R P A L E T T E

There are many artists who swear As I begin to mix and blend
by arranging their colours in a between colours, I tend to work in
certain order, and others who circles moving down from the
tend to have their colours all in a top. I like to let my colours
mush. I am somewhat of a hybrid contaminate each other as I'm
between the two. working; it's the accidental colour
variations that lend a sense of
I like to start by arranging all of realism to the piece.
the colours in a row at the top of
my palette. I usually like to have I like to keep burnt umber,
the colours I'll use the most on ultramarine blue, and white
the left (almost like a starting relatively close to each other, as
lineup). they're how I create my tones.

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 4
I N T R O D U C T O R Y
T E C H N I Q U E S
While the previous three chapters
laid the invisible groundwork for
painting success, this chapter is all
about the technique that will be on
full display in your work.

While I tend to work in a very realist

style, which involves hiding the
brushwork, you can experiment with
the techniques you are introduced to
in this chapter to feel out what your
style feels like.

Is it bold and colourful? Subtle and

mysterious? Do you favour the
emotionality of impressionist
landscapes, or the painting of
ordinary objects, like teacups or
bowls of fruit?

As you learn more about the

techniques you'll need in your
beginner practice, I encourage you to
observe the work of your favourite
artists to discover new techniques to
integrate into your work.

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 I N T R O T O
A C R Y L I C
M E D I U M S

In my practice, I use
almost exclusively only
two acrylic mediums: a
blending medium, and a
glazing medium.

Above is my favourite
glazing liquid, Glazing
Liquid: Gloss by Golden.
I'll be using this in the
glazing section. To the
left is Liquitex
Professional Slow-Dri
Blending Medium. I use
this when I need just a
little bit of extra time for
wet on wet blending.

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 W E T O N W E T , D R Y
B R U S H I N G & G L A Z I N G

There are three techniques that I have had to use

CHAPTER FOUR | INTRODUCTORY TECHNIQUES

in almost every painting that I have worked on:

wet on wet blending, dry brushing, and glazing.
Becoming comfortable with each of these
techniques will be fundamental in building your
skillset as an acrylic painter.

I strongly recommend that you watch the

accompanying YouTube video to view each of
these techniques in action. In the examples that
follow, I chose to replicate the techniques on a
canvas board as a study. Doing so gives you the
opportunity to practice the techniques before
committing to them on a larger canvas.

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 W E T O N W E T B L E N D I N G

PREPARE BOTH COLOURS

Ensure that you have both

CHAPTER FOUR | INTRODUCTORY TECHNIQUES

colours pre-mixed and ready to

blend. Keep one brush active in
each colour. You may choose to
add a small amount of water or
blending medium (a few drops).

APPLY BOTH COLOURS

Working quickly, apply both the

colours to the canvas in close
proximity to where you are
going to do the blend. You may
wish to go a little heavy on the
paint to add drying time.

BLEND QUICKLY

Alternating between each brush,

begin to blend one colour into
the other. Use large, smooth
strokes. Go back and forth over
the area repeatedly, until a
smooth blend forms.

TROUBLESHOOT
If your brush is dragging, you
need more paint. If there are
ridges of paint forming, it's too
thick, and needs to be smoothed.
Keep extra paint on your palette
for touchups.

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 D R Y B R U S H I N G

Dry brushing is a great technique for adding texture and creating wispy effects,
such as clouds or mist. I have used it in my Foggy Fence painting to layer in
shading for the grass, in the mist, and for the textured sections of wood.

P R E P A R E W O R K I T I N A P P L Y

Begin by mixing Take some of the Apply the paint from

the colour that paint into your brush, your brush onto the
you'll require for a very small amount, canvas. For clouds and
dry brushing. You and spread it through mist, I use dry
won't need very the bristles by brushing in swirl
much; in fact, the pressing the brush patterns to create
less you have on into the palette. On organic edges. For
your brush, the older brushes that I things like grass and
better this don't care about, I'll texture, I'll hold the
technique will mash the paint in by brush at the base and
work! driving the brush onto tap the painting with
the palette. the brush.

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 G L A Z I N G
Glazing is one of my favourite techniques for layering in beautiful colours to
create an iridescent look. It involves thin applications of colour resting on top
of each other, like a sugar glaze coating a doughnut. While this technique was
not used in Foggy Fence, it is an excellent one to add to your repertoire.

P R E P A R E T E S T A P P L Y

Once you have Take a small amount Once happy with the
mixed your colour, of the paint onto your colour, apply thin
you may choose to brush and test out how layers of your glaze in
add in a glazing the liquid dries in a the desired area. I will
medium to help small area. Because the sometimes glaze
thin your colour. I medium has a milky warms over cools (or
use Glazing Liquid: finish when wet, it will vice versa), to suggest
Gloss by Golden often appear different depth without using
Acrylics. Use a little when dry. Ensure that the traditional darks
bit at a time, you you're happy with it and lights.
don't need much to before doing a larger
see results. area.

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 5
V A R N I S H I N G
Y O U R W O R K
When I was new to painting, I was
very reluctant to varnish my finished
work. I liked that the sheen wasn't
uniform, and that there were some
glossy sections and some matte.
Varnishing felt like taking away some
of the personality.

As time has gone on, I have changed

my tune on varnishing. Although
artist-grade acrylics are resistant to
UV light, you will add years of
longevity and protection to your
work by varnishing.

I once knocked a finished painting off

of my desk, which struck a tripod on
its way down to the floor. The varnish
was scraped, but not the actual paint.
I was able to apply a thin layer of
varnish afterwards, which hid the
scratch and restored the piece.

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S E L E C T I N G Y O U R V A R N I S H F I N I S H

Acrylic paint typically has a matte Matte finish, in order to eliminate

finish, while oil has more of a the sheen, adds a slight milkiness
gloss. Since I often work in oils, I to the varnish. When this dries, it
have grown to prefer the gloss can have a dulling effect,
finish. However, it's important to particularly on your darker
honour your own preferences, colours. If you regret this choice
and if you prefer matte, by all and varnish with gloss afterwards,
means go for matte. you won't eliminate the dullness.
However, if you varnish with
I have one caution: it is easier to gloss first, then change your mind
apply a glossier finish first, and and switch to matte, it will be the
re-varnish with matte, then the same as if you'd chosen matte in
other way around. the first place.

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 A P P L Y I N G V A R N I S H
Traditionally, varnish is applied as a thin liquid that must sit, undisturbed, on a
canvas for 24 hours or longer. With aerosol technology, artists can now quickly
spray their work, and it will be dry to the touch in 15 minutes. My favourite is
Kamar by Krylon, a semi-gloss finish.

P R E P A R E S P R A Y W A I T

Begin by laying Holding the can This can be the hard

your painting on a approximately 30cm part. Reapply another
piece of cardboard away from the thin layer after an
in a well ventilated painting, spray in hour or so, but
area (I often use smooth, horizontal otherwise, do not touch.
my garage, see the motions, working your Check for any pieces
picture for wait). way from top to of debris or fluff that
Begin shaking the bottom. You may wish have gotten attached
can of varnish and to position your while sticky, and
continue shaking painting on a slight remove with an exacto
for at least two angle to avoid pooling. knife tip, if necessary.
minutes.

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 6
S H O P P I N G

Are you one of those people who

gets struck by analysis paralysis? If
so, join the club. I will spend hours
agonizing over the right thing to
buy, scrolling through reviews,
sweating bullets as I try to figure
out the best possible combination of
new supplies to purchase.

The list you find in this section is

by no means comprehensive, and
can always be added to, but I can
assure you that you will not regret
any of the materials that I have
suggested if you remain committed
to your acrylic painting practice.

If you're stuck for any supplies, due

to location or limited stock, you
may choose to visit my Amazon
storefront, where I have put
together lists of my favourite
painting supplies. You can visit
through this link. You can also visit
my website to view
recommendations.

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 P A I N T I N G S U P P L I E S

P A I N T S C A N V A S
Alizarin crimson, High quality cotton
cadmium yellow light, duck canvas (I use 16"
ultramarine blue, x 20" artist grade,
titanium white, burnt gallery profile canvas
umber, mars black. in my Foggy Fence
tutorial).
SHOPPING CHECKLIST

B R U S H E S M E D I U M S
Large, medium, Glazing Liquid: Gloss
small, and detail by Golden Acrylics,
sizes in all three key Slow-Dri Blending
shapes (flat, filbert Medium by Liquitex
and round). Professionals.

P R E P P A L E T T E
Artist grade gesso (I Enamel butcher's
use Liquitex tray, wax or
Professional), 220 parchment paper,
grit sandpaper, 320 paper towel
grit sandpaper.

Notes:

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 T H I S I S
O N L Y T H E
B E G I N N I N G

Painting is a lifelong
practice that ebbs and
flows. Some days will be
full of inspiration; others,
less so.

If you stick with your

practice, put in the time,
and anticipate both the
highs and the lows, I can
guarantee that you will
improve. Moreover, your
love for the craft will
deepen until it becomes an
inextricable part of your
identity.

Thank you for putting your

trust in me to guide you
during these crucial first
steps. I can't wait to see
what you create. Be sure to
connect with me on social
media and tag me in all
your beautiful work!

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Everyone discusses my art
and pretends to understand,
as if it were necessary to
understand, when it is simply
necessary to love.
- Claude Monet

mariannevanderdussen.com | page 36
 CONTACT

Facebook: Marianne Vander Dussen - Visual Artist

Facebook Group: Art Incubator with Marianne Vander Dussen
Instagram: @mariannevanderdussen
Youtube: mariannevanderdussen

Marianne Vander Dussen

North Bay, ON
Email: info@mariannevanderdussen.com

www.mariannevanderdussen.com