Acrylics, Even.

I'd been forewarned by some of my friends that Magic players like to get cards altered at tournaments. Rather than make a mess of things with a Sharpie I took some acrylics to October's Toronto GP, so I could make little paintings like these:

A few people were surprised I'd only been using acrylics for a few hours, but they trusted me with their cards anyway. Back home I decided to try them at a slightly larger scale -- and to compare my M. Graham acrylics with the newer Winsor & Newton Artists' Acrylics. Both boast longer open time than older acrylics, and WN's claim of minimizing color shift during drying was interesting. So during an evening at Tom's studio with Greg, Ben, Allen, and Chris, I did.

I think the M. Graham paints' longer open time was more important to me than the lack of color shift in the Winsor & Newton paints. In the end, though, I was glad I could go back to oils.

In conclusion, napkin doodles:


  1. Those thumbnails look suspiciously like gesture sketches! Which I know can't possibly be!!

    I have some Golden Open Acrylics but have only played with them. They do stay workable for a surprisingly long time but I found them too gooey.

    Did you get an IlluXcon4 showcase table?

  2. Of course they're not gesture sketches! They're a party of adventurers outside a wizard's tower, obviously. I think the last one has real promise. Done on a Denny's napkin on the way to GenCon 2010, with a pen borrowed from the waitress. Pure gold. Well, no, not really.

    I neglected to mention another thing that really helped me use acrylics, and that is my Masterson's Sta-Wet Pallet. It keeps my mixes fresh so I can go back to them, just like oils. The thing I was really missing was blending on the painting for soft transitions.

    Thanks for reminding me about IlluxCon!... Wait. What? I thought I'd have more time to get a showcase slot, honestly. I'm a bit shocked they're already gone. Best get on the waiting list, I guess.

  3. Haha, now I understand the scene set by that portal painting. Or rather, the underlying reason for it's existence, or something like that.