Understanding the abstract painting process on acrylic canvas is something people often ask me about — whether I see the finished image in my head before I start or just begin making marks. The truth is somewhere in between. Here is a glimpse into how a piece usually unfolds.
1. Preparing the surface
I start with a primed canvas and often add a very loose underpainting – transparent washes of colour that knock back the white and set a general mood. This first layer might be completely hidden in the end, but it affects how later colours sit.
2. Establishing movement and structure
Before I worry about detail, I’m thinking about movement and balance. Broad brushes, rags, even hands come into play. I’ll suggest where the horizon might sit, where light might appear, where the eye might travel.
At this point the painting looks wild and unfinished – which is exactly what I want. The aim is to get energy into the surface.
3. Building layers
Once the basic rhythm is there, I start layering. Thin glazes, thicker opaque marks, soft transitions – all are working together. I’m constantly stepping back, squinting, tilting my head to see what the painting is asking for.
Colour decisions happen here: whether a sky leans more towards violet or teal, how warm the land feels, how dramatic the contrast should be.
4. Letting it rest
I rarely finish a painting in one go. Leaving it on the wall for a day or two lets me see it fresh. Sometimes I realise it needs one bold gesture; sometimes just a subtle softening is enough.
This “resting” stage is crucial – it’s where I decide what to keep and what to sacrifice. Some of my favourite passages of paint have come from being willing to paint over something that was “quite nice” in order to find something better.
5. Knowing when it’s done
There isn’t a magic formula, but there is a feeling: the moment when the painting feels balanced but alive. Nothing is shouting for attention; your eye can move around without getting stuck, and there’s still room for a bit of mystery.
That’s when I put the brushes down, sign the work, and let it dry fully. From there, it’s about varnishing if needed, photographing, and – hopefully – sending it off to its new home.
