Learn to draw better. Imagine acrylic painting, like painting colors with a paintbrush. I learned how to paint well long before I started using acrylic paint. In the drawing, you will learn how to determine scale, perspective, and shape. In addition to these other elements, you'll learn how to use value and detail to create a three-dimensional illusion on a two-dimensional surface. Mastering these aspects of painting will translate into better acrylic painting techniques, especially if you want to paint in a representational, realistic style. How can you draw better? Draw a grid from photos to get your proportions right, then draw from photos freehand to increase your challenges, and finally, get a complete grasp of painting from life. This will bring great rewards to your paintings.

Work from simple to complex with your acrylic painting on canvas process. I teach my drawing students to start with a very limited palette and then add colors as needed. In general, you use cooler colors, such as blue with darker values, and warm light. In addition, you can decompose your composition into several different values and add nuances from them. Work on the details slowly and don't overdo it. Details do not always create realism, on the contrary, it has the right values and colors in the right place to make the painting look lifelike.

Learn new specific painting techniques and make them your own. In the Mid-1990s, I learned acrylic glass technology from a college teacher at a week-long art summer camp in high school. This technique comes from the old master, where you use a very thin layer of paint, diluted with a transparent acrylic medium, to create a rich, luminous surface with a beautifully painted appearance. The canvas I used for the first time wasn't very good, but I believe it can do something for my painting because I can create a well-defined sketch and paint it slowly without erasing the details.
As time went on, I became more and more accustomed to the way the technique worked, and I even made some adjustments to the way my mentor had taught me and was very satisfied with the effect of my painting. I took what he gave me, and I used it, through experience, to add my own skills, which I now teach to my students.

Never give up on a bad painting. I tell my students, "no painting is so out of date that you can't fix it -- it's just a matter of how long it takes. " You can learn a lot when you hang it, even if it looks awful, you want to get rid of it. When you stick to the process and find a solution to the problem in your work, it strengthens your "artistic muscles" and gives you the confidence that you will be able to take on your next painting. And you can save time and material costs. As an artist who paints a lot of portraits, I can't give up painting because I've put a lot of time into it -- I have a deadline and bills to pay! Therefore, I must find a way to solve any problems that arise.

To be criticized. I give my face to face and online drawing students at different stages of criticism of their work, especially when they are stuck. There is no substitute for another eye, especially if you can find an artist's eye that skillfully examines your work and gives you specific feedback on how to improve it. Ideally, you want someone who is more advanced in skills than you are. That person will be able to see the difference between your painting and reference photos or compositions and be able to give you detailed advice on how to make your artwork match the actual image. They won't be afraid to do it. But let them do it in a respectful way and encourage you by telling you which elements of your painting are also successful.