How “Glassism” Brings Acrylic to Life—With Light, Masking, and Air
Studio Notes – D. Line Artist
“Glassism” is a term I coined for a style I built through years of layering, refining, and occasionally arguing with gravity. It’s acrylic on gessoed hardboard—meticulously inked in black, then airbrushed with layered color to create bold edges, translucent depth, and a luminous finish. The end result looks like stained glass, but it’s all paint, patience, and a steady hand. No solder. No sliced fingers. Just a stubborn artist and a vision that doesn’t flinch.
1. Why Hardboard, Not Canvas
Glassism starts flat. I use rigid, gessoed hardboard or illustration board—sturdy enough to handle detailed ink work, multiple layers of acrylic, and fine airbrush control without warping or fuzzing out. It’s clean, consistent, and built to outlast me.
2. Edges by Hand
I don’t rely much on masking. Most of the sharp edges and fades come from hand control—inked lines, feathered spray, and muscle memory. There’s a little tape here and there. Maybe some homemade frisket. Just years of knowing when to stop the wrist. There’s overspray at times, but it plays into the style.
3. Ink, Then Paint
Every piece begins in black. I ink the structure first, then build the image with translucent layers of color—red over yellow, blue over green, and so on—pushing light from within. Sometimes I finish with colored pencil for pop, sometimes not. Final highlights are brushed in white. Then a clear coat seals it all with depth.
4. Why It Takes So Long
Each piece is built in passes—airbrushed layers, brushstroke accents, detail tweaks, varnish. Some paintings take weeks. Some take months. Speed isn’t the goal. Permanence is. And sometimes, I just need them to sit half-done for a while… to stew.
5. From Studio Wall to Collector’s Home
Every piece ships ready to hang—framed or mounted on wood. Some go on tour first. Some head straight to collectors. But every one leaves my studio the same way: signed in the corner, dusted by hand, and reluctantly let go.
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