This is a thin underpainting consisting of a color and turpentine (or odorless turpentine substitute such as Turpenoid). This will dry quickly so that you can then add subsequent layers of paint and color without having to wait too long for it to dry. Burnt sienna is useful to lay out values and composition, whether you work on a white canvas or tone it with a neutral gray first.
The key to successful glazing is to not paint a new layer of glaze until the current layer is totally dry. With acrylic paints or watercolor, you don't have to wait very long for this to happen, but with oil paints you'll need to be patient. If you glaze onto still-wet paint, the paint will mix and you'll have what's called a physical mix rather than an optical mix.
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Layering can refer to many different techniques beyond painting, but for the purpose of acrylic painting, layering is a widely used practice that can greatly enhance the perception of three-dimensionality. Unlike watercolor, acrylics dry into insoluble films, so you can layer without pulling any color underneath. Start with your bottom, background layer and build from there.
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The technical requirements of some schools of modern painting cannot be realized by traditional genres and techniques, however, and some abstract painters, and to some extent contemporary painters in traditional styles, have expressed a need for an entirely different plastic flow or viscosity that cannot be had with oil paint and its conventional additives. Some require a greater range of thick and thin applications and a more rapid rate of drying. Some artists have mixed coarsely grained materials with their colours to create new textures, some have used oil paints in much heavier thicknesses than before, and many have turned to the use of acrylic paints, which are more versatile and dry rapidly. https://www.youtube.com/watch?v=VEXJDkojKQM