Applications & Techniques:
Metallic Textures with Amy Shawley, Artist

There are many ways to create textures from acrylic gels and paints. One exciting direction is using gels paired with iridescent color to create a variety of weathered metal effects. Be adventurous with your application tools and techniques and you can achieve a wide range of finishes.
 
Gel textures can vary greatly from smooth to gritty and from low to high relief. Some gels, like Glass Bead Gel, have a distinct texture while other gels are smooth but vary in viscosity. The Iridescent colors can be mixed with regular Fluids and Heavy Body paints to create a full range of metal effects, from a smooth faux leaf to a textured, aged metal.

Faux Encrusted Metal This project will walk you through the steps for creating a faux encrusted metal effect, and also describe two other effects that use similar materials. These techniques can be used as a background for a painting, as elements in a mixed media project, or as embellishments to a sculpture piece, and beyond.   The first layers of this project use a ragging technique. Dampen a rag or paper towel in water, then fold the material into a loose rosette. Dip the rosette into a paint color and blot it onto the painting surface. The rag will leave a fun pattern and can be refolded over and over again to keep the paint application pattern random. To follow this example, start the ragged layers with Fluid Raw Umber (Step 1), then follow with Fluid Iridescent Copper Light (Step 2), Heavy Body Micaceous Iron Oxide (Step 3), and a mixture of Fluid Iridescent Copper Light and High Solid Gel (Matte) (Step 4). Allow the color to dry completely between each layer. Step 1: Base coat of Fluid Raw Umber Step 2: "Ragged" Fluid Iridescent Copper Light Step 3: "Ragged" Heavy Body Micaceous Iron Oxide Step 4: Sponge or rag apply mix of Iridescent Copper Light and High Solid Gel (Matte) Step 5: Selectively place areas of Clear Granular Gel and Glass Bead Gel Step 6: Add color on top of texture The layers of Micaceous Iron Oxide and of the Iridescent Copper Light / High Solid Gel mixture will start to build some higher texture peaks. When these peaks are dry, bits of Glass Bead Gel and Clear Granular Gel can be applied selectively to the built-up texture (Step 5). Add the beads and granules in small bits at a time, not large globs. When all of these layers are dry, the painting surface should resemble metal at an advanced stage of decay, encrusted with minerals and debris. Next, embellish the texture with layers of color. You can use both brushes and q-tips to give the surface the look of aged patina. You can use a q-tip to blot areas with Fluid Cobalt Teal, Titanium White, Green Gold and Quinacridone / Nickel Azo Gold, then deepen their tones with spots of Van Dyke Brown Hue, feathering the color out with a slightly damp brush (Step 6). A fun way to finish this board is to smooth out some of the edges with the extra Iridescent Copper Light / High Solid Gel mixture using a palette knife. This will highlight the interior texture and simulate the look of a metal that is eroding back. For a final touch, sponge on light dabs of Iridescent Copper Light for added shimmer. Faux Encrusted Metal, detail Faux Encrusted Metal, detail (close-up)

Other Projects using Gels and Paints with Metallic Effects
Bas-Relief Gears
For this sculpted texture technique, begin with a drawing of gears to use as a guide for the bas-relief. The drawing can be traced or made freehand onto any stiff surface. Next, tint High Solid Gel (Matte) with Fluid Iridescent Gold Deep (Fine) and apply this mixture over the drawing with a palette knife. Apply it loosely at first and then sculpt it further while wet. You can also use a rubber paint shaper to push, pull and remove the gel to form a raised texture that simulates bas-relief.
 
After the first gel layer dries, sponge some of the remaining mixture over the painting surface to create rougher patches of texture. When that second gel layer dries, you can then add color for even more visual depth. In this example, the sculpted gears were dry brushed with a touch of Fluid Iridescent Gold Deep (Fine), and then the crevices and background were "weathered" with Fluid Acrylic Van Dyke Brown Hue, splashes of Manganese Blue Hue and Quinacridone / Nickel Azo Gold.
 
A tip for finishing the project: by darkening the areas next to the high texture gear shapes, the raised gel will stand out more visually. To achieve an even application, paint on the Fluid Acrylic color with one brush, then use a second brush loaded only with water. When you lay the water down next to the paint color, following the line you made with the first brush, the Fluid Acrylic will flow into the water and soften the line. Blot up the excess water with a rag or dry brush.

Stamped Metal
To begin, apply a light stain of Quinacridone / Nickel Azo Gold to your support. After allowing it to dry completely, apply an even coat of a 4:1 mixture of Glass Bead Gel and Clear Granular Gel over the whole painting surface using a palette knife. Because these gels are transparent, you will be able to see your first layer of color underneath.
 
When this gel layer is completely dry, apply a mixture of High Solid Gel (Matte) and Fluid Iridescent Gold in about a 1/8" thickness over the entire Glass Bead / Clear Granular Gel surface. While this gel layer is still wet, stamp into it. Press very firmly to get a deep impression then remove the stamp and let the gel dry. As it dries, the second layer of gel settles around the bumps of the first layer of the Glass Bead and Clear Granular Gel mixture to reveal a subtle, pebbly surface. Where the Fluid Iridescent Gold / High Solid Gel (Matte) mixture was stamped into, you can see more of the finer granules and beads of the layer below.
 
For the final touches, choose contrasting, darker colors. In this instance, Heavy Body Permanent Maroon and Permanent Violet Dark were used for the foreground and Fluid Acrylic Sap Green Hue, Green Gold and Van Dyke Brown Hue for the background, concentrating darker color around the edges of the stamp to make it "pop" more. Building up the color in a series of thin layers will achieve rich depth. Brush it on and then buff around the surface with a damp rag to reveal the ridges and valleys of the textured surface.

Bas-Relief Gears

Stamped Metal (click to enlarge)

© Golden Artist Colors, Inc.