The second painting we had to complete required the inclusion of complementary colours in order to create a more effective composition. In my case this was orange. While completing this painting I also came across another issue which I had not previously considered. It concerned working with wet-on-wet and wet-on-dry painting methods. I found that wet-on-wet painting allowed for colours to blended more easily and smoothly which is one of the problems presented by the fast drying nature of acrylics. Having said this I found that the use of too much paint and water resulted in colours bleeding too far into one another (if the paint was particularly watery it would simply run across the canvas surface), eliminating any desired crisp lines and tarnishing the general appearance of the painting. To remedy this I came to the conclusion that a dry-on-wet approach was required in order to establish more defined tonal areas and precise lines. This method of painting did present problems for me as I found it frustrating at not being able to rectify tonal mistakes once the paint had dried, something which could be achieved more easily with other painting mediums that I was more familiar with.


As opposed to my first painting I found that I was more confident in my mark marking with this piece. I believe this was due to my familiarity with the behaviour of the acrylic paint along with a more practised painting technique. I found that rendering the spherical quality of the satsuma presented a particular challenge in terms of tonal values and brush-marks and I am still not wholly content with its final appearance. I also found the exact brilliance of the orange tone a challenge to recreate with the available palette of colour, in particular the subtle hints of yellow which the satsuma displayed. Working at such a smaller scale I was required to be more focused with every brushstroke while maintaining a steady hand, leading me to become more ‘involved’ in the painting process.