Oil Paintings – an Overview
Ben Jonson asked:
As a known fact oil painting is the most preferred mode of painting by most of the artists as well as the painting fans. The probable reason why it is enjoyed and loved by most of the people is because of the deep and beautiful colors present and the attractiveness which the picture brings to the room when it is hung. Oil paintings have greater scope of being framed beautifully, unlike other forms that do not lent themselves to be framed with metaphorical frames that enhance and add an additional point of attraction to the paintings.
Paintings as such from the ancient times are considered to be a mode by which artists express the beauty which they feel around themselves and thus they present it according to their interpretations. Oil paintings have proven to create a tremendous leap in the creation of the art that looks much realistic and people just groove into the beauty of the oil paintings which have an extremely realistic appearance.
An imaginative and a good artist uses oil paintings as a medium to enhance his piece of work which is created based on his imagination or out of the interpretations which he might have drawn from the objects viewed. A good artist along with his set of oil paintings can add a life to the objects he paints, especially painting on a canvas gives the paintings a three dimensional look. A good and an imaginative artist can make any paintings renowned by adding a pinch of emotion with just a stroke of a brush to the paintings which might be depicting victorious events or the scenic beauty of nature. Artists have this admirable ability to add life to the objects, thus the different interpretations which the artist draw makes us visualize the inanimate objects in a new way. Now for instance let’s consider a ship which is fighting a terrible storm, an artist possesses the ability to portray the intensity of the nature and thus making us to imagine the fury of nature by viewing the painting. Oil paintings have provided extremely realistic appearances that have added a color to the imaginations of the artist. In 1500A.D the artists made the discovering of making colorful paints by mixing ground natural pigments by using vegetable oil took place. The drying oils which were utilized in the early days were walnut oil, poppy oil, hempseed oil, castor oil and linseed oil. These oils acted as varnishes for protecting the images and thus it helped in the protection of the paintings from damage caused by water. Thus oil paintings are considered as one of the best medium to put into light the frozen thoughts and provide a realistic view to the paintings.
As a known fact oil painting is the most preferred mode of painting by most of the artists as well as the painting fans. The probable reason why it is enjoyed and loved by most of the people is because of the deep and beautiful colors present and the attractiveness which the picture brings to the room when it is hung. Oil paintings have greater scope of being framed beautifully, unlike other forms that do not lent themselves to be framed with metaphorical frames that enhance and add an additional point of attraction to the paintings.
Paintings as such from the ancient times are considered to be a mode by which artists express the beauty which they feel around themselves and thus they present it according to their interpretations. Oil paintings have proven to create a tremendous leap in the creation of the art that looks much realistic and people just groove into the beauty of the oil paintings which have an extremely realistic appearance.
An imaginative and a good artist uses oil paintings as a medium to enhance his piece of work which is created based on his imagination or out of the interpretations which he might have drawn from the objects viewed. A good artist along with his set of oil paintings can add a life to the objects he paints, especially painting on a canvas gives the paintings a three dimensional look. A good and an imaginative artist can make any paintings renowned by adding a pinch of emotion with just a stroke of a brush to the paintings which might be depicting victorious events or the scenic beauty of nature. Artists have this admirable ability to add life to the objects, thus the different interpretations which the artist draw makes us visualize the inanimate objects in a new way. Now for instance let’s consider a ship which is fighting a terrible storm, an artist possesses the ability to portray the intensity of the nature and thus making us to imagine the fury of nature by viewing the painting. Oil paintings have provided extremely realistic appearances that have added a color to the imaginations of the artist. In 1500A.D the artists made the discovering of making colorful paints by mixing ground natural pigments by using vegetable oil took place. The drying oils which were utilized in the early days were walnut oil, poppy oil, hempseed oil, castor oil and linseed oil. These oils acted as varnishes for protecting the images and thus it helped in the protection of the paintings from damage caused by water. Thus oil paintings are considered as one of the best medium to put into light the frozen thoughts and provide a realistic view to the paintings.
Effective Ways for Cleaning Your Oil Painting
Ben Jonson asked:
First and foremost thing you should consider before trusting any oil painting method is that it must come with disclaimer. More than any other types of do-it-yourself process, oil painting cleaning must actually be trusted to professional conservators. On the other hand, if your painting does not carry expensive tag, or it is not really old, or not too critical, there are few options to make it look cleaner and brighter yourself. In addition, modifying true antiques in fact decreases their value, whether they look better to you or not.
During 1940s, paintings made from oil on canvas were normally covered with the layer of varnish to incorporate sheen and guard the thick layer of paint, name Impasto. However, varnish usually reacts differently to the surroundings than the paint do, so such varnish seals end up cracking, staining or gumming up over time. It could make the real tint of the oil paints appear dull or discolored.
In case, it looks that your painting has gone older, assess whether your paint is in good condition but the varnish has gone old. Here, try using mild solvent name conservation liquid. Art selling stores would usually sell an “emulsion” intended to clean and take away varnish. There is forever option that this solvent would as well harm or take out the oil paint. If you are eager take this risk then wipe the emulsion with a cotton scrub very carefully. Try to do spot-testing one bend before going on to the total canvas painting. Work in an area where you find sufficient ventilation.
When it comes to recent paintings, you might come across the trouble of build-up of smoke, dust, stain, pet hair (in case you have pets at home), dander, and even fungal development. Here, you need to make sure that none of the paints is prepared to come about the board or canvas, in the sense that it does not display any flakes and cracks. After that, you could watchfully clean up the surface with very dry and soft bristle brush, may be with baby toothbrush or shaving brush.
When the painting surface is steamy, mucky and oily, you might desire to take some steps for cleaning by means of detergent solution. However, usually it is not an good idea to mix up water and oil as the moisture could damage both the impasto and canvas. Moving with caution, you can use fresh cotton cloths dipped in a mixture of dish soap and hot water. Then next you need to lightly blot the base, make sure you don’t scrub or rub on the painting. Never should you allow submerging any part of painting, nor must you let the moisture to drip or pool.
First and foremost thing you should consider before trusting any oil painting method is that it must come with disclaimer. More than any other types of do-it-yourself process, oil painting cleaning must actually be trusted to professional conservators. On the other hand, if your painting does not carry expensive tag, or it is not really old, or not too critical, there are few options to make it look cleaner and brighter yourself. In addition, modifying true antiques in fact decreases their value, whether they look better to you or not.
During 1940s, paintings made from oil on canvas were normally covered with the layer of varnish to incorporate sheen and guard the thick layer of paint, name Impasto. However, varnish usually reacts differently to the surroundings than the paint do, so such varnish seals end up cracking, staining or gumming up over time. It could make the real tint of the oil paints appear dull or discolored.
In case, it looks that your painting has gone older, assess whether your paint is in good condition but the varnish has gone old. Here, try using mild solvent name conservation liquid. Art selling stores would usually sell an “emulsion” intended to clean and take away varnish. There is forever option that this solvent would as well harm or take out the oil paint. If you are eager take this risk then wipe the emulsion with a cotton scrub very carefully. Try to do spot-testing one bend before going on to the total canvas painting. Work in an area where you find sufficient ventilation.
When it comes to recent paintings, you might come across the trouble of build-up of smoke, dust, stain, pet hair (in case you have pets at home), dander, and even fungal development. Here, you need to make sure that none of the paints is prepared to come about the board or canvas, in the sense that it does not display any flakes and cracks. After that, you could watchfully clean up the surface with very dry and soft bristle brush, may be with baby toothbrush or shaving brush.
When the painting surface is steamy, mucky and oily, you might desire to take some steps for cleaning by means of detergent solution. However, usually it is not an good idea to mix up water and oil as the moisture could damage both the impasto and canvas. Moving with caution, you can use fresh cotton cloths dipped in a mixture of dish soap and hot water. Then next you need to lightly blot the base, make sure you don’t scrub or rub on the painting. Never should you allow submerging any part of painting, nor must you let the moisture to drip or pool.
Learn Oil Painting – Basic Beginner Steps
Bryon Zirker asked:
Oil paint dries very slowly, Unlike acrylic paints which dry very quickly. Acrylic paint was initially created as an underpainting medium for oil painting.
It is perfectly stable to put a base of acrylic and then place oil paint over it. Linseed oil added to oil paint will extend color, increase flow and increase workability. Oil paint with added medium is called long, oil paint used directly from the tube is called short or stiff.
You place you oil paints on a wooden board called a palette the very best palettes are made of pear wood.
It is very important to understand your paints and know which colors are:
Transparent (see through) Semi Opaque (slightly see through) and opaque (not see through) getting started put as much oil paint on your brush for two strokes three maximum always end your brush stroke on the canvas.
Make sure that you use linseed oil only when you are painting with the wet on wet method or process.
Do not confuse yourself with all of the many other mediums. Wait to discover those when you are more experienced. If you can actually afford the professional paints, definitely go ahead and buy them. You will notice immediately that they are completely different from the student paints.
Always buy the best brushes that you can afford. The Da Vinci brand brushes are the best professional brushes. Buy long handle bushes. The technique is to hold near the end of the handle. When developing talent one point to consider is the ability to take risks. Just play around with your paint however first understand it, only paint at an easel and make sure to stand back from your painting all the time. Never put your expensive brushes in turps when you are working in a session. Go ahead and wipe them clean with paper towels or cloth wash out your brushes in turps or a similar solvent at the end of a session and then be sure to clean immediately with soapy water.
Preparing the canvas the foundation of you piece
It is quite essential that you put on the first underpainting or wash on your canvas. This takes away the glare of the white (which will reflect back at you, quite annoying) and the more layers of paint you get onto your canvas the better and the more professional looking your painting, the more luminous the paint ant the more the painting will sing out with color and texture.
Traditionally an earth color of a burnt umber or raw umber, raw sienna or an ochre was painted on as a good first underpainting. Sometimes it can be pretty exciting to paint on a bright red or dark blue as your first underpainting especially when you are in the habit of putting on three or four layers and seeing the underpainting come through your painting. Use a big wash brush to apply the first underpainting it you use acrylic as your underpaint it will dry quickly and get you started quicker.
How to apply oil paint in two methods
1. Wet on wet or All Prima (in one step)
2. Stage Painting or Glazing Fat over lean
Wet on wet is applied by using the paint stiff, which is directly from the tube Or thinned to the consistency of salad dressing with linseed oil the essential part of painting wet on wet is making your brushes and painting knives do the work for you.
You definitely want to have full control of your brushes and experiment with different brushes to see the marks and texture streaks that they make.
Never work with turps unless you are working with the glazing method.
Never ever stand your brushes in any turps working in your painting session.
Turps will burn the bristles and inevitably there will be some left in the brush when you start to use color.
This will make it difficult to keep control of the flow or thickness of paint. The glazing technique is a process of building up your painting in a series of layers of the thinned paint.
I found this specific method for the glazing technique with oil paint it is called fat over lean
A Lean 1st layer thinned with solvent
A Lean 2nd layer thinned with less solvent
A Lean 3rd layer thinned with less solvent
A Fat 4th layer straight from tube
A Fat 5th layer thinned with little linseed oil
A Fat 6th layer thinned with more linseed oil
It is very essential that you this process exactly follow or the layers of paint will dry at different levels and possibly ***** the paint. Granted, it is a slow method and you absolutely need some patience however the results are spectacular tonal values which are essential in painting. This glazing method gives you full control of creating tones in acrylic paint. Here there is no mystery about paint.
Remember that paint is just pigment with a binder. In the case of oil paint, it is just a pigment with a drying oil usually linseed oil is used for this. The very best professional oil paints you will find are Michael Harding and Old Holland. Windsor and Newton and some other makes are good as well just make sure they are called professional paints and not the lesser quality student paints.
One last thing, Oil Paint dries very slowly, have patience and enjoy the journey. Paint on.
Oil paint dries very slowly, Unlike acrylic paints which dry very quickly. Acrylic paint was initially created as an underpainting medium for oil painting.
It is perfectly stable to put a base of acrylic and then place oil paint over it. Linseed oil added to oil paint will extend color, increase flow and increase workability. Oil paint with added medium is called long, oil paint used directly from the tube is called short or stiff.
You place you oil paints on a wooden board called a palette the very best palettes are made of pear wood.
It is very important to understand your paints and know which colors are:
Transparent (see through) Semi Opaque (slightly see through) and opaque (not see through) getting started put as much oil paint on your brush for two strokes three maximum always end your brush stroke on the canvas.
Make sure that you use linseed oil only when you are painting with the wet on wet method or process.
Do not confuse yourself with all of the many other mediums. Wait to discover those when you are more experienced. If you can actually afford the professional paints, definitely go ahead and buy them. You will notice immediately that they are completely different from the student paints.
Always buy the best brushes that you can afford. The Da Vinci brand brushes are the best professional brushes. Buy long handle bushes. The technique is to hold near the end of the handle. When developing talent one point to consider is the ability to take risks. Just play around with your paint however first understand it, only paint at an easel and make sure to stand back from your painting all the time. Never put your expensive brushes in turps when you are working in a session. Go ahead and wipe them clean with paper towels or cloth wash out your brushes in turps or a similar solvent at the end of a session and then be sure to clean immediately with soapy water.
Preparing the canvas the foundation of you piece
It is quite essential that you put on the first underpainting or wash on your canvas. This takes away the glare of the white (which will reflect back at you, quite annoying) and the more layers of paint you get onto your canvas the better and the more professional looking your painting, the more luminous the paint ant the more the painting will sing out with color and texture.
Traditionally an earth color of a burnt umber or raw umber, raw sienna or an ochre was painted on as a good first underpainting. Sometimes it can be pretty exciting to paint on a bright red or dark blue as your first underpainting especially when you are in the habit of putting on three or four layers and seeing the underpainting come through your painting. Use a big wash brush to apply the first underpainting it you use acrylic as your underpaint it will dry quickly and get you started quicker.
How to apply oil paint in two methods
1. Wet on wet or All Prima (in one step)
2. Stage Painting or Glazing Fat over lean
Wet on wet is applied by using the paint stiff, which is directly from the tube Or thinned to the consistency of salad dressing with linseed oil the essential part of painting wet on wet is making your brushes and painting knives do the work for you.
You definitely want to have full control of your brushes and experiment with different brushes to see the marks and texture streaks that they make.
Never work with turps unless you are working with the glazing method.
Never ever stand your brushes in any turps working in your painting session.
Turps will burn the bristles and inevitably there will be some left in the brush when you start to use color.
This will make it difficult to keep control of the flow or thickness of paint. The glazing technique is a process of building up your painting in a series of layers of the thinned paint.
I found this specific method for the glazing technique with oil paint it is called fat over lean
A Lean 1st layer thinned with solvent
A Lean 2nd layer thinned with less solvent
A Lean 3rd layer thinned with less solvent
A Fat 4th layer straight from tube
A Fat 5th layer thinned with little linseed oil
A Fat 6th layer thinned with more linseed oil
It is very essential that you this process exactly follow or the layers of paint will dry at different levels and possibly ***** the paint. Granted, it is a slow method and you absolutely need some patience however the results are spectacular tonal values which are essential in painting. This glazing method gives you full control of creating tones in acrylic paint. Here there is no mystery about paint.
Remember that paint is just pigment with a binder. In the case of oil paint, it is just a pigment with a drying oil usually linseed oil is used for this. The very best professional oil paints you will find are Michael Harding and Old Holland. Windsor and Newton and some other makes are good as well just make sure they are called professional paints and not the lesser quality student paints.
One last thing, Oil Paint dries very slowly, have patience and enjoy the journey. Paint on.
Oil Painting Lesson – Introduction to Oil Painting Mediums
Ralph Serpe asked:
Oil painting is a wonderful medium all on its own, but there are modifiers that you can add to the oil paint that can change its behavior. This article will give you an overview of some of the more popular oil painting mediums available to today’s oil painters. The use of oil painting mediums is really a matter of taste and not a requirement. Many artists do not use any mediums at all other then a bit of oil to make the paint more workable, as some paints are quite thick straight from the tube. Other artists swear by certain mediums. It should also be noted that artists differ on opinion when it comes to the effectiveness and quality of oil painting mediums, so you should experiment on your own and form your own opinion. Make sure before using any oil painting medium that you read all warning labels and always work in a well ventilated area. It is also recommended that you work with gloves to protect your skin.
LINSEED OIL
Linseed oil is made from the seed of the flax plant. During its early history, linseed oil had a different role then it has today. Originally it was used as a final varnish for paintings that were created using the egg tempera medium. Linseed oil is used as binder in today’s oil paints. Linseed oil dries thoroughly and forms a strong paint film. Because linseed oil dries slowly, the paint remains in a workable state, enabling the artist to continue working on the painting for some time. When linseed oil ages, it does tend to yellow unfortunately. Many painters avoid using linseed oil with lighter colors like whites and yellows. Below are a few varieties of linseed oils that are available to today’s oil painters.
COLD PRESSED LINSEED OIL
Cold pressed linseed oil is made by extracting the oils from the raw flaxseed. The oil is extracted by using pressure and not heat, thereby creating a linseed oil in its purist form. Cold pressed linseed oil can be used as a binder in oil paints, but can also be used as a medium to thin oil paints, heighten gloss and transparency, and reduce the visibility of brush strokes. Many painters and manufacturers alike feel cold pressed linseed oil is superior in quality to other linseed oils because there is no refinement made to the oil. Cold pressed linseed oil results in a low yield, so this oil does carry a heftier price tag.
STEAM PRESSED OR REFINED LINSEED OIL
When the flaxseed is steam heated and then pressed it yields more oil, thereby making refined linseed oil a more affordable medium for artists and for use as a binder in oil paints. The process of steam heating the flax seeds produces more waste, so this waste has to be removed through a refinement process. The oil is treated with an acid which removes the waste materials. The acid is then neutralized with an alkali solution. Refined linseed oil can be used to thin oil paint and increase brilliance and transparency.
SUN THICKENED LINSEED OIL
Sun thickened linseed oil is a thick bodied medium that is produced using the heat of the sun. An equal amount of both linseed oil and water are mixed together in a container and left in sunlight for several weeks or longer. The water and linseed oil eventually separate resulting in a thicker oil with a honey like consistency. Sun thickened linseed oil is not used as a binder in oil paints but as an independent medium that improves flow and increases gloss. Sun thickened linseed oil has less of a tendency to yellow and speeds drying.
STAND OIL
Stand oil is also a thick bodied medium like sun thickened linseed oil. Linseed oil is heated at a high steady temperature, in an air tight container, which results in a very thick honey like consistency. Stand oil is useful as a glazing medium when mixed with turpentine and damar varnish. Stand oil helps improve the flow and has good resistance to yellowing. Stand oil is a slow drying medium that produces a strong enamel like paint film.
POPPY SEED OIL
Because linseed oil has a tendency to yellow as it ages, other oils have come onto the market. Amongst these oils are poppy seed and safflower oil. Poppy seed oil is extracted from the seeds of the opium poppy. Poppy seed oil is a pale slower drying oil and is less likely to yellow when compared with linseed oil. It is often used with whites, blues and pale colors.
SAFFLOWER OIL
Safflower oil is similar to poppy seed oil in that they both are suitable for whites and light colors. It has less of a tendency to yellow when compared to linseed oil.
WALNUT OIL
Walnut oil is a pale oil that helps make paint more fluid and has good drying power. It has less of a tendency to yellow when compared with linseed oil. Walnut oil has to be stored properly or it can spoil.
LIQUIN
Liquin is a popular oil painting medium. Many artists swear by it and it is definitely worth a try if you have never worked with it before. Liquin improves the flow of oil and alkyd colors and helps in subtle blending and fine detail. It speeds drying and serves as a good medium for glazing.
I hope this article has served as a good overview on oil painting mediums. Remember that working with oil painting mediums is not a requirement. If you are feeling adventurous then choose one medium at a time, experiment and have fun. Happy Painting!
Oil painting is a wonderful medium all on its own, but there are modifiers that you can add to the oil paint that can change its behavior. This article will give you an overview of some of the more popular oil painting mediums available to today’s oil painters. The use of oil painting mediums is really a matter of taste and not a requirement. Many artists do not use any mediums at all other then a bit of oil to make the paint more workable, as some paints are quite thick straight from the tube. Other artists swear by certain mediums. It should also be noted that artists differ on opinion when it comes to the effectiveness and quality of oil painting mediums, so you should experiment on your own and form your own opinion. Make sure before using any oil painting medium that you read all warning labels and always work in a well ventilated area. It is also recommended that you work with gloves to protect your skin.
LINSEED OIL
Linseed oil is made from the seed of the flax plant. During its early history, linseed oil had a different role then it has today. Originally it was used as a final varnish for paintings that were created using the egg tempera medium. Linseed oil is used as binder in today’s oil paints. Linseed oil dries thoroughly and forms a strong paint film. Because linseed oil dries slowly, the paint remains in a workable state, enabling the artist to continue working on the painting for some time. When linseed oil ages, it does tend to yellow unfortunately. Many painters avoid using linseed oil with lighter colors like whites and yellows. Below are a few varieties of linseed oils that are available to today’s oil painters.
COLD PRESSED LINSEED OIL
Cold pressed linseed oil is made by extracting the oils from the raw flaxseed. The oil is extracted by using pressure and not heat, thereby creating a linseed oil in its purist form. Cold pressed linseed oil can be used as a binder in oil paints, but can also be used as a medium to thin oil paints, heighten gloss and transparency, and reduce the visibility of brush strokes. Many painters and manufacturers alike feel cold pressed linseed oil is superior in quality to other linseed oils because there is no refinement made to the oil. Cold pressed linseed oil results in a low yield, so this oil does carry a heftier price tag.
STEAM PRESSED OR REFINED LINSEED OIL
When the flaxseed is steam heated and then pressed it yields more oil, thereby making refined linseed oil a more affordable medium for artists and for use as a binder in oil paints. The process of steam heating the flax seeds produces more waste, so this waste has to be removed through a refinement process. The oil is treated with an acid which removes the waste materials. The acid is then neutralized with an alkali solution. Refined linseed oil can be used to thin oil paint and increase brilliance and transparency.
SUN THICKENED LINSEED OIL
Sun thickened linseed oil is a thick bodied medium that is produced using the heat of the sun. An equal amount of both linseed oil and water are mixed together in a container and left in sunlight for several weeks or longer. The water and linseed oil eventually separate resulting in a thicker oil with a honey like consistency. Sun thickened linseed oil is not used as a binder in oil paints but as an independent medium that improves flow and increases gloss. Sun thickened linseed oil has less of a tendency to yellow and speeds drying.
STAND OIL
Stand oil is also a thick bodied medium like sun thickened linseed oil. Linseed oil is heated at a high steady temperature, in an air tight container, which results in a very thick honey like consistency. Stand oil is useful as a glazing medium when mixed with turpentine and damar varnish. Stand oil helps improve the flow and has good resistance to yellowing. Stand oil is a slow drying medium that produces a strong enamel like paint film.
POPPY SEED OIL
Because linseed oil has a tendency to yellow as it ages, other oils have come onto the market. Amongst these oils are poppy seed and safflower oil. Poppy seed oil is extracted from the seeds of the opium poppy. Poppy seed oil is a pale slower drying oil and is less likely to yellow when compared with linseed oil. It is often used with whites, blues and pale colors.
SAFFLOWER OIL
Safflower oil is similar to poppy seed oil in that they both are suitable for whites and light colors. It has less of a tendency to yellow when compared to linseed oil.
WALNUT OIL
Walnut oil is a pale oil that helps make paint more fluid and has good drying power. It has less of a tendency to yellow when compared with linseed oil. Walnut oil has to be stored properly or it can spoil.
LIQUIN
Liquin is a popular oil painting medium. Many artists swear by it and it is definitely worth a try if you have never worked with it before. Liquin improves the flow of oil and alkyd colors and helps in subtle blending and fine detail. It speeds drying and serves as a good medium for glazing.
I hope this article has served as a good overview on oil painting mediums. Remember that working with oil painting mediums is not a requirement. If you are feeling adventurous then choose one medium at a time, experiment and have fun. Happy Painting!
Concern China Oil Painting Reproduction
Lucas asked:
Concern china oil painting reproduction
China’s low cost and hunger for exports have already changed many industries, from home appliances to food and life. The art world,at least art for the masses,seems to be next,and is emerging as a miniature case study of China’s successful expansion in a long list of small and obscure industries that when taken together represent a sizable chunk of economic activity.
United States customs data show that imports of Chinese oil paintings nearly tripled from 2000 to 2008, with bulk shipments reaching $30.5 million last year. Retail sales are several times that, as the customs data are based on the price that entrepreneurs pay for bulk purchases. The biggest market for oil paintings portrait painting canvas wall art abstract art frames from China turns out to be in Florida condominiums and other second homes being built as part of the global housing market boom. Hotels and restaurants also buy large numbers of Chinese paintings.
China is rapidly expanding art colleges, turning out tens of thousands of skilled artists each year willing to work cheaply. The Internet is allowing these assembly-line paintings to be sold all over the world; the same technology allows families across America to arrange for their portraits to be painted in coastal China. Many of the paintings depict scenes that Chinese artists have never seen. “European landscapes, like the Mediterranean or Venice or Paris, are the best sellers for us,”
As in the United States and Europe, a handful of contemporary painters in China can command hundreds of thousands or even millions of dollars for each of their highly creative works – artists like Chen Yifei, Zhao Wuji and Wu Guanzhong. But the main push by China has been in the broad market for works that retail for $500 or less, with painters who work from postcards or images on the Internet or, in Mr. Zhang’s case, a large, dog-eared copy of an art book in English on van Gogh.
China’s ability to turn what has long been an individual craft into a mass production industry may affect small-scale artists from Rome’s Spanish Steps to the sidewalks along Santa Monica’s beach in California, as well as many galleries and art colonies in between.
Concern china oil painting reproduction
China’s low cost and hunger for exports have already changed many industries, from home appliances to food and life. The art world,at least art for the masses,seems to be next,and is emerging as a miniature case study of China’s successful expansion in a long list of small and obscure industries that when taken together represent a sizable chunk of economic activity.
United States customs data show that imports of Chinese oil paintings nearly tripled from 2000 to 2008, with bulk shipments reaching $30.5 million last year. Retail sales are several times that, as the customs data are based on the price that entrepreneurs pay for bulk purchases. The biggest market for oil paintings portrait painting canvas wall art abstract art frames from China turns out to be in Florida condominiums and other second homes being built as part of the global housing market boom. Hotels and restaurants also buy large numbers of Chinese paintings.
China is rapidly expanding art colleges, turning out tens of thousands of skilled artists each year willing to work cheaply. The Internet is allowing these assembly-line paintings to be sold all over the world; the same technology allows families across America to arrange for their portraits to be painted in coastal China. Many of the paintings depict scenes that Chinese artists have never seen. “European landscapes, like the Mediterranean or Venice or Paris, are the best sellers for us,”
As in the United States and Europe, a handful of contemporary painters in China can command hundreds of thousands or even millions of dollars for each of their highly creative works – artists like Chen Yifei, Zhao Wuji and Wu Guanzhong. But the main push by China has been in the broad market for works that retail for $500 or less, with painters who work from postcards or images on the Internet or, in Mr. Zhang’s case, a large, dog-eared copy of an art book in English on van Gogh.
China’s ability to turn what has long been an individual craft into a mass production industry may affect small-scale artists from Rome’s Spanish Steps to the sidewalks along Santa Monica’s beach in California, as well as many galleries and art colonies in between.
Tips for Maintaining Good Oil Painting Habits
vijay asked:
Following are the tips for you to maintain good oil painting habits:
Tips for saving color:
• Clean away any mixtures near heaps of colors you are setting up to keep.
• Keep a habit to put colors in same place on palette – used up areas must be worn out & wiped for new oil paint for next painting session.
• For disposable palettes scoop off mounds of paint you desire to maintain with your knife and move them to a fresh sheet; if a skin shapes, stab and take away the skin and work with the new color under.
• If you are not regular on painting for a week – cover palette with plastic cover & place in freezer.
• When you desire to clean your palette clean off central mixing area of wooden/acrylic palette, when you are done with your oil painting,
• For caring for tube keep tubes clean, wipe necks & caps.
Caring for your brushes:
• Wipe to take away surplus paint on rags, newspaper, etc.
• Rinse in container of solvent not advisable to soak.
• Clean your oil painting brush with rags, newspaper to immerse up solvent
• You can also use mild soap (shampoo or dawn), put dab in palm of your hand, foam brush in palm moving in circle to work foam into bristles.
• Lather & wash it in lukewarm water until soap suds are snow white, & rinse with clear water; bristles might discolor.
• Press bristles into tidy, solid shape while moist.
• Let it dry and store in jar bristle-end up.
Safety precautions:
• Read labels on oil paints and mediums – some are gently toxic (cadmium colors), so you need to careful with it.
• Avoid consumption of food or smoking while you paint
• Wash hands carefully after oil painting reproduction session; try using lotion to hands before hand, paints would wash off easier
• Some solvents don’t create deadly fumes, any how, must be used in well air room – open a window
• Some solvents are combustible also and toxic (gasoline, kerosene) – stick to turpentine and petroleum stuff made for artist’s use.
Following are the tips for you to maintain good oil painting habits:
Tips for saving color:
• Clean away any mixtures near heaps of colors you are setting up to keep.
• Keep a habit to put colors in same place on palette – used up areas must be worn out & wiped for new oil paint for next painting session.
• For disposable palettes scoop off mounds of paint you desire to maintain with your knife and move them to a fresh sheet; if a skin shapes, stab and take away the skin and work with the new color under.
• If you are not regular on painting for a week – cover palette with plastic cover & place in freezer.
• When you desire to clean your palette clean off central mixing area of wooden/acrylic palette, when you are done with your oil painting,
• For caring for tube keep tubes clean, wipe necks & caps.
Caring for your brushes:
• Wipe to take away surplus paint on rags, newspaper, etc.
• Rinse in container of solvent not advisable to soak.
• Clean your oil painting brush with rags, newspaper to immerse up solvent
• You can also use mild soap (shampoo or dawn), put dab in palm of your hand, foam brush in palm moving in circle to work foam into bristles.
• Lather & wash it in lukewarm water until soap suds are snow white, & rinse with clear water; bristles might discolor.
• Press bristles into tidy, solid shape while moist.
• Let it dry and store in jar bristle-end up.
Safety precautions:
• Read labels on oil paints and mediums – some are gently toxic (cadmium colors), so you need to careful with it.
• Avoid consumption of food or smoking while you paint
• Wash hands carefully after oil painting reproduction session; try using lotion to hands before hand, paints would wash off easier
• Some solvents don’t create deadly fumes, any how, must be used in well air room – open a window
• Some solvents are combustible also and toxic (gasoline, kerosene) – stick to turpentine and petroleum stuff made for artist’s use.
What is You Need to Know About Oil Painting?
Krista QQ(www.123giftfactory.com) asked:
Before picking up a brush, Learn what lean to fat, value, and more mean and many important terms that you need to learn. Here are terms and tips and every word you need to know about oil painting and it’s necessary termps for producing better paintings.
Long and Short Oil Paint
Oil painting mediums can be used to control the thickness, or consistency, of your oil paint.
Long oil paint means that enough medium has been added that it has very little “peak” (the ability to make small peaks or hills out of the paint) to it. It is smooth and oily. Long paint is used when you want very little brush strokes. Short oil paint is paint straight out of the tube. It is thick and has a lot of “peak” to it, stiff and buttery in consistency.
Some classic mediums are:Linseed Oil, Stand Oil, Safflower Oil, Alkyd Painting Medium etc.
Color Temperature
Color temperature refers to the color’s place on the color wheel. If you divide the color wheel at neutral purple (purple that is neither warm nor cool) and at neutral yellow the wheel will be divided into a “cool” side and “warm” side. Warm colors are colors that have a red tint to them. Cool colors have a blue tint.
Value
Value is the graduation of a color from light to dark. By varying the values in a painting you can achieve what is called contrast, or the sharp difference between light and dark. Adding contrast to a painting adds depth and interest. To see the difference in value in your subject simply put on sunglasses. Your sunglasses will keep you from seeing the actual color, and leave you with just lights and darks.
Layering
There are certain rules that should be followed when painting in oils. These rules keep you from ending up with a muddy mess of a painting.
First, you should always paint from warm to cool, meaning, lay down warm colors first, then cool. This also goes for value, always go from dark to light.
Similarly, you should always lay down your thin paint first (or long paint), getting thicker (short paint) as you go along, using your biggest brush first. Start with big, blocked in objects first, slowly working into more detail toward the end.
* Two typical layering methods for an oil painting as following:
Gesso: Gesso is used to prime a surface or canvass before painting. Basically, it makes paint stick better to the surface. It also keeps it from sinking into the surface. You don’t have to use gesso when painting, but it is worth giving a try.
Varnish: Varnish protects your painting from damage. It is only applied when the painting has thoroughly dried, around six months. Retouch varnish is temporary and can be used as soon as the picture is dry to the touch and can be removed with gum turpentine.
Other familiar ways of layering for oil painting:
1. Canvas
2. Underpainting
3. Thin, long, dark, warm paint
4. Thicker, short, light, cool paint
Now, did you have got an idea about oil painting? try it now!
Before picking up a brush, Learn what lean to fat, value, and more mean and many important terms that you need to learn. Here are terms and tips and every word you need to know about oil painting and it’s necessary termps for producing better paintings.
Long and Short Oil Paint
Oil painting mediums can be used to control the thickness, or consistency, of your oil paint.
Long oil paint means that enough medium has been added that it has very little “peak” (the ability to make small peaks or hills out of the paint) to it. It is smooth and oily. Long paint is used when you want very little brush strokes. Short oil paint is paint straight out of the tube. It is thick and has a lot of “peak” to it, stiff and buttery in consistency.
Some classic mediums are:Linseed Oil, Stand Oil, Safflower Oil, Alkyd Painting Medium etc.
Color Temperature
Color temperature refers to the color’s place on the color wheel. If you divide the color wheel at neutral purple (purple that is neither warm nor cool) and at neutral yellow the wheel will be divided into a “cool” side and “warm” side. Warm colors are colors that have a red tint to them. Cool colors have a blue tint.
Value
Value is the graduation of a color from light to dark. By varying the values in a painting you can achieve what is called contrast, or the sharp difference between light and dark. Adding contrast to a painting adds depth and interest. To see the difference in value in your subject simply put on sunglasses. Your sunglasses will keep you from seeing the actual color, and leave you with just lights and darks.
Layering
There are certain rules that should be followed when painting in oils. These rules keep you from ending up with a muddy mess of a painting.
First, you should always paint from warm to cool, meaning, lay down warm colors first, then cool. This also goes for value, always go from dark to light.
Similarly, you should always lay down your thin paint first (or long paint), getting thicker (short paint) as you go along, using your biggest brush first. Start with big, blocked in objects first, slowly working into more detail toward the end.
* Two typical layering methods for an oil painting as following:
Gesso: Gesso is used to prime a surface or canvass before painting. Basically, it makes paint stick better to the surface. It also keeps it from sinking into the surface. You don’t have to use gesso when painting, but it is worth giving a try.
Varnish: Varnish protects your painting from damage. It is only applied when the painting has thoroughly dried, around six months. Retouch varnish is temporary and can be used as soon as the picture is dry to the touch and can be removed with gum turpentine.
Other familiar ways of layering for oil painting:
1. Canvas
2. Underpainting
3. Thin, long, dark, warm paint
4. Thicker, short, light, cool paint
Now, did you have got an idea about oil painting? try it now!
Oil Painting With No Paint Brush
Ben Jonson asked:
A paintbrush is certainly the most commonly used tool in oil painting. But that does not necessarily imply that paint brushes are indispensable for oil painting. Most people, because they do oil painting with paint brushes, easily forget that there are other ways to apply paint to a surface.
Most people who are knowledgeable about oil painting will agree that palette knives have for long been the traditional oil paint mixing tool. It is indeed a fact that palette knives are ideally suited for creating smooth, consistent mixtures of paint with the medium. At the same time, there is no denying that there is a host of oil painters who go beyond the palette with their knives, straight to the painting surface.
These knives are available in a variety of shapes and sizes and even made in plastic. As all of us are aware, for mixing purposes, just one traditional shape or size might do. But applying paint calls for a range of palette knives to choose from like choosing a set of brushes. When you are attempting to paint with palette knives, experiment with different shapes and sizes to see what produces the best effects. It is generally believed that smaller and thinner knives are ideal for lining, and the bigger ones are more suited for loading on the paint.
There are people who are fond of using stencils into their painting work = particularly when the subject demands a repetitive effect. There are ready-made stencils available in the market or you can make your own with the aid of a stencil kit. But you must take care to use the proper materials or else, the desired results cannot be achieved.
All professional painters will agree that stenciling is not a traditional oil painting method. This is one reason why there are hardly any tutorials. Professional will insist you should still keep in mind the fundamentals of the medium – what is generally known as ‘fat over lean’. It is obvious that very thin paint will bleed around the edges, so it might be necessary to wait until one of the thicker layers of your painting. But it is a fact that stenciling in one of the under layers gives a great effect. However, it is advisable to experiment to find a solution that will fit your needs.
You will soon find rags, sponges and even your own fingers as excellent alternate tools when it comes to oil painting. Professional oil painters claim that it is possible one could create an entire oil painting using rags and/or sponges and without the aid of paint brushes. Sometimes the background color of the painting can be effectively done using just one’s own fingers. Of course, the basic ‘fat over lean rule’ always applies, so bear that in mind when experimenting in any innovative methods.
However, one should exercise caution when painting with your fingers or any other part of your body. You must make sure that the oil color and solvents do not absorb into your skin and then into your bloodstream. This could lead to health problems.
A paintbrush is certainly the most commonly used tool in oil painting. But that does not necessarily imply that paint brushes are indispensable for oil painting. Most people, because they do oil painting with paint brushes, easily forget that there are other ways to apply paint to a surface.
Most people who are knowledgeable about oil painting will agree that palette knives have for long been the traditional oil paint mixing tool. It is indeed a fact that palette knives are ideally suited for creating smooth, consistent mixtures of paint with the medium. At the same time, there is no denying that there is a host of oil painters who go beyond the palette with their knives, straight to the painting surface.
These knives are available in a variety of shapes and sizes and even made in plastic. As all of us are aware, for mixing purposes, just one traditional shape or size might do. But applying paint calls for a range of palette knives to choose from like choosing a set of brushes. When you are attempting to paint with palette knives, experiment with different shapes and sizes to see what produces the best effects. It is generally believed that smaller and thinner knives are ideal for lining, and the bigger ones are more suited for loading on the paint.
There are people who are fond of using stencils into their painting work = particularly when the subject demands a repetitive effect. There are ready-made stencils available in the market or you can make your own with the aid of a stencil kit. But you must take care to use the proper materials or else, the desired results cannot be achieved.
All professional painters will agree that stenciling is not a traditional oil painting method. This is one reason why there are hardly any tutorials. Professional will insist you should still keep in mind the fundamentals of the medium – what is generally known as ‘fat over lean’. It is obvious that very thin paint will bleed around the edges, so it might be necessary to wait until one of the thicker layers of your painting. But it is a fact that stenciling in one of the under layers gives a great effect. However, it is advisable to experiment to find a solution that will fit your needs.
You will soon find rags, sponges and even your own fingers as excellent alternate tools when it comes to oil painting. Professional oil painters claim that it is possible one could create an entire oil painting using rags and/or sponges and without the aid of paint brushes. Sometimes the background color of the painting can be effectively done using just one’s own fingers. Of course, the basic ‘fat over lean rule’ always applies, so bear that in mind when experimenting in any innovative methods.
However, one should exercise caution when painting with your fingers or any other part of your body. You must make sure that the oil color and solvents do not absorb into your skin and then into your bloodstream. This could lead to health problems.
Oil Painting Lesson – an Introduction to Oil Painting Supports
Ralph Serpe asked:
An oil painting support is any surface that oil paint can be applied to. There are a variety of different surfaces that artists use to paint on. Everything from certain woods, canvas, and even metals can serve as supports for oil paint. This article will introduce you to those various supports and hopefully help you decide which support is best for your style of oil painting.
LINEN
Linen is made from the fibers of the flax plant. The plants are harvested and then left to soak in water until the outside of the plant rots away leaving the fibers underneath. The fibers are then processed into yarns or threads which are then woven into canvas. The fibers of the flax plant are long and quite strong and make for a very interesting and durable painting support. Paintings executed on this surface have withstood the test of time. It is for this reason that linen canvas is a favorite amongst professional oil painters. Unfortunately linen canvas is rather expensive and may not be the best option for beginners. If you are interested in learning more about linen canvas, check your local art store or go online and do a search. There are a variety of different linen canvases available, from rolled canvas to pre-stretched. It comes primed for acrylic and oils, or you can get it unprimed as well.
COTTON
Cotton canvas is the most popular support for beginner oil painters. It is a relatively strong material and much cheaper than linen. It has a very even and mechanical weave. There is a big debate going on in the art world over which is the better painting support, linen or canvas? What support will last longer? This is really a matter of personal opinion and taste. I know many artists, including myself, who use cotton canvas exclusively. Other artists swear by linen. If the surface is sized correctly, then your painting will be well protected from rot and will last a long time. So when deciding between linen or cotton, I feel your decision should be based on how you enjoy working with the material itself and not whether or not it will be around in three hundred years. If you are really concerned about the durability of cotton, then purchase a heavy grade cotton canvas and try stretching it yourself. Cotton canvas is available in rolls or pre-stretched, primed or unprimed.
CANVAS PADS
For those artists who may be on a tight budget but still want a descent quality surface to paint on, then canvas pads are a good choice. Canvas pads come in a variety of different sizes and are great for beginners who are just starting out. Canvas pads are great for practice or doing studies. Make certain you get a heavy weight canvas pad suitable to hold oil paint.
MASONITE OR HARDBOARD
Masonite is another popular oil painting support for artists. Masonite is actually a trademarked name for a synthetic hardboard made from wood particles. Hardboard is inexpensive and rigid. If you plan to use large hardboards, it is recommended that you reinforce them with a frame, as they can bow or bend. You can purchase plain hardboards or other varieties like canvas boards, which are hardboards covered with a ready to paint canvas material.
WOOD PANELS
The earliest known oil paintings were created on wood panels made of oak or poplar. The wood was covered with a uniform ground made of animal skin glue and chalk. The ground was then polished smooth to create a surface suitable for oil paint.
Pure hard wood panels are not the most popular ground for oil painters today. They are costly and rather difficult to lug around. A good alternative that oil painters use is plywood. There is good quality plywood available made of birch, poplar or mahogany that is suitable for oil paints if prepared correctly. Do not paint on soft woods such as pine because they contain more resins and do not resist moisture very well.
The above are the more popular oil painting supports in use today. There are others that artists use when they are feeling adventurous. Metals like copper and aluminum are sometimes used as a painting support. Obviously metals are quite heavy, so paintings on this type of support are usually on the smaller side. There are also other fabrics used in oil painting like jute, which is a strong natural fiber with a rough texture.
Your choice of oil painting support really depends on your style of painting. Experiment with the variety of painting supports available and have fun. You will eventually find one that works best for you.
An oil painting support is any surface that oil paint can be applied to. There are a variety of different surfaces that artists use to paint on. Everything from certain woods, canvas, and even metals can serve as supports for oil paint. This article will introduce you to those various supports and hopefully help you decide which support is best for your style of oil painting.
LINEN
Linen is made from the fibers of the flax plant. The plants are harvested and then left to soak in water until the outside of the plant rots away leaving the fibers underneath. The fibers are then processed into yarns or threads which are then woven into canvas. The fibers of the flax plant are long and quite strong and make for a very interesting and durable painting support. Paintings executed on this surface have withstood the test of time. It is for this reason that linen canvas is a favorite amongst professional oil painters. Unfortunately linen canvas is rather expensive and may not be the best option for beginners. If you are interested in learning more about linen canvas, check your local art store or go online and do a search. There are a variety of different linen canvases available, from rolled canvas to pre-stretched. It comes primed for acrylic and oils, or you can get it unprimed as well.
COTTON
Cotton canvas is the most popular support for beginner oil painters. It is a relatively strong material and much cheaper than linen. It has a very even and mechanical weave. There is a big debate going on in the art world over which is the better painting support, linen or canvas? What support will last longer? This is really a matter of personal opinion and taste. I know many artists, including myself, who use cotton canvas exclusively. Other artists swear by linen. If the surface is sized correctly, then your painting will be well protected from rot and will last a long time. So when deciding between linen or cotton, I feel your decision should be based on how you enjoy working with the material itself and not whether or not it will be around in three hundred years. If you are really concerned about the durability of cotton, then purchase a heavy grade cotton canvas and try stretching it yourself. Cotton canvas is available in rolls or pre-stretched, primed or unprimed.
CANVAS PADS
For those artists who may be on a tight budget but still want a descent quality surface to paint on, then canvas pads are a good choice. Canvas pads come in a variety of different sizes and are great for beginners who are just starting out. Canvas pads are great for practice or doing studies. Make certain you get a heavy weight canvas pad suitable to hold oil paint.
MASONITE OR HARDBOARD
Masonite is another popular oil painting support for artists. Masonite is actually a trademarked name for a synthetic hardboard made from wood particles. Hardboard is inexpensive and rigid. If you plan to use large hardboards, it is recommended that you reinforce them with a frame, as they can bow or bend. You can purchase plain hardboards or other varieties like canvas boards, which are hardboards covered with a ready to paint canvas material.
WOOD PANELS
The earliest known oil paintings were created on wood panels made of oak or poplar. The wood was covered with a uniform ground made of animal skin glue and chalk. The ground was then polished smooth to create a surface suitable for oil paint.
Pure hard wood panels are not the most popular ground for oil painters today. They are costly and rather difficult to lug around. A good alternative that oil painters use is plywood. There is good quality plywood available made of birch, poplar or mahogany that is suitable for oil paints if prepared correctly. Do not paint on soft woods such as pine because they contain more resins and do not resist moisture very well.
The above are the more popular oil painting supports in use today. There are others that artists use when they are feeling adventurous. Metals like copper and aluminum are sometimes used as a painting support. Obviously metals are quite heavy, so paintings on this type of support are usually on the smaller side. There are also other fabrics used in oil painting like jute, which is a strong natural fiber with a rough texture.
Your choice of oil painting support really depends on your style of painting. Experiment with the variety of painting supports available and have fun. You will eventually find one that works best for you.
Minimizing Damage to Oil Paintings
jackwu asked:
If you’ve spent a lot of money just to acquire priceless oil paintings, you’re certainly entitled to be just a wee bit obsessed when it comes to caring, cleaning and minimizing damage to your oil paintings. In this article, we’ve listed three points to ponder to minimize damage to oil paintings.
Framing – I know, I know, the selection of frames to keep your oil paintings should purely be based on its aesthetic value but really, it shan’t be the case if you want to minimize damage to your oil paintings. If your oil painting is done on fabrics, it’s probable that a wooden frame is used to encase it. A wooden frame is also called a stretcher or trainer, by the way. Although there seems to be no harm done caused by wooden frames, you might want to change your opinion later on during extreme temperature changes.
How do these happen? Moisture is easily absorbed by materials like wood and fabric. Both materials also swell when humidity is present and shrinks in its absence. It’s not the same, however, with paint.
The change in size affects the oil painting and may cause the canvas to sag. Okay I know, I’m taking the long cut with this so bear with me. I just want you to understand the basics behind the warning. Now, because frame makers are aware of the changes these materials undergo, they made sure that they’re expendable joints you can use to “key out” the oil paintings and make sure it remain taut.
And the warning – don’t have it keyed out during the cold months of winter because it might cause the painting to TEAR. That’s right, not darken, not get dirtied but TEAR.
Lighting – So now you better about framing. I’m sure you’re more wary this time when it comes to lighting levels. I’ll keep it simple this time, don’t you worry. My warnings about lighting levels will be to the point: Keep oil paintings in locations that are not easily reached by the harsh rays of sunlight.
If you have no options left about where to keep them, then just make do with closed drapes. Secondly, the ideal light level for oil paintings is 200lux. Thirdly, don’t succumb to temptation and illuminate your oil paintings so its glory may be seen by all. I tell you, it would be simply murderous to your oil paintings.
Temperature and Humidity – As this was already briefly discussed already during the framing process, you now know that humidity level can very much affect the surface of your paintings. So what do I advise regarding humidity levels? Basements are just a no-no to your oil paintings. In relation to temperatures, please do think about buying temperature sensors because fluctuations can likewise cause damage to your oil paintings,if you need more information, you can visit my oil painting site
If you’ve spent a lot of money just to acquire priceless oil paintings, you’re certainly entitled to be just a wee bit obsessed when it comes to caring, cleaning and minimizing damage to your oil paintings. In this article, we’ve listed three points to ponder to minimize damage to oil paintings.
Framing – I know, I know, the selection of frames to keep your oil paintings should purely be based on its aesthetic value but really, it shan’t be the case if you want to minimize damage to your oil paintings. If your oil painting is done on fabrics, it’s probable that a wooden frame is used to encase it. A wooden frame is also called a stretcher or trainer, by the way. Although there seems to be no harm done caused by wooden frames, you might want to change your opinion later on during extreme temperature changes.
How do these happen? Moisture is easily absorbed by materials like wood and fabric. Both materials also swell when humidity is present and shrinks in its absence. It’s not the same, however, with paint.
The change in size affects the oil painting and may cause the canvas to sag. Okay I know, I’m taking the long cut with this so bear with me. I just want you to understand the basics behind the warning. Now, because frame makers are aware of the changes these materials undergo, they made sure that they’re expendable joints you can use to “key out” the oil paintings and make sure it remain taut.
And the warning – don’t have it keyed out during the cold months of winter because it might cause the painting to TEAR. That’s right, not darken, not get dirtied but TEAR.
Lighting – So now you better about framing. I’m sure you’re more wary this time when it comes to lighting levels. I’ll keep it simple this time, don’t you worry. My warnings about lighting levels will be to the point: Keep oil paintings in locations that are not easily reached by the harsh rays of sunlight.
If you have no options left about where to keep them, then just make do with closed drapes. Secondly, the ideal light level for oil paintings is 200lux. Thirdly, don’t succumb to temptation and illuminate your oil paintings so its glory may be seen by all. I tell you, it would be simply murderous to your oil paintings.
Temperature and Humidity – As this was already briefly discussed already during the framing process, you now know that humidity level can very much affect the surface of your paintings. So what do I advise regarding humidity levels? Basements are just a no-no to your oil paintings. In relation to temperatures, please do think about buying temperature sensors because fluctuations can likewise cause damage to your oil paintings,if you need more information, you can visit my oil painting site
