Tips on Oil Painting – Why Paint With Oils?
December 14, 2009 by admin
Filed under Visual Art
Remi Engels, Ph.D. asked:
Because oil paints have been used for many centuries, their properties are very well known.
Oil is, even today, still one of the easiest and most forgiving mediums you can work in. Creating an oil painting is in fact relatively easy compared to other mediums such as watercolor or even pastels.
The advantages of oil are many and various. Here are some of the most important ones:
* Oil paints are easily put onto a canvas or panel. You just put some paint on your brush and rub it on the canvas or panel. The paint will generally not run or move.
* Creating a painting becomes a matter of putting the right color paint in the right place. Of course, some artists are better at this than others.
* One great property of oil paints is that they do not change color when they dry as opposed, for example, to acrylics. Oils pretty much stay the same for a long period of time.
* It is very easy to correct a mistake when you paint with oils. Just scrape the paint off with a paint knife and repaint whatever it was you scraped off.
* Oil paint dries very slowly because they consist of small pigment particles suspended in oil.
In fact, each color has its own drying time. But all paints dry slow enough so that you can remove them days and even weeks after they were applied. This is also the reason why it is so easy to correct mistakes.
Of course, the disadvantage is that they dry … slowly. That means they stay wet longer although there exist mediums that, when mixed in with the paint, can significantly speed up the drying process if that is what you want.
* It is easy to mix tube colors on a palette and is usually done with a brush of paint knife. There are mediums to thicken the paint into a pasta-like consistency and mediums to thin the paint into a water-like consistency.
* Once a color mixture formula is memorized it is easy to consistently reproduce the mixture. This is less the case with most other mediums.
* The fact that oil paint dries so slowly also gives you more time to work and rework a painting. You have enough time to sleep on certain decisions you need to make. Acrylics, for example, dry much faster and give you less time to ponder your masterpiece before action is required.
* Oil paints are also easily blended. So, it becomes relatively easy to render smooth transitional areas between different colors or values.
* Oils are also amenable to a whole series of techniques each of which yields a different look and feel. One example of such a technique is glazing. In de glazing technique several thin layers of transparent paint are put on top of each other. Each layer must be thoroughly dry before the next one is applied. Once done light is reflected off each layer resulting into an unusual luminosity and brightness.
* Oil can be used on any number of grounds: canvas, panel canvas, glass, wood, paper, etc. each, when done correctly, with excellent and durable results.
These are some of the more important and interesting properties of oil paints that have given this medium the enduring popularity that it has.
Because oil paints have been used for many centuries, their properties are very well known.
Oil is, even today, still one of the easiest and most forgiving mediums you can work in. Creating an oil painting is in fact relatively easy compared to other mediums such as watercolor or even pastels.
The advantages of oil are many and various. Here are some of the most important ones:
* Oil paints are easily put onto a canvas or panel. You just put some paint on your brush and rub it on the canvas or panel. The paint will generally not run or move.
* Creating a painting becomes a matter of putting the right color paint in the right place. Of course, some artists are better at this than others.
* One great property of oil paints is that they do not change color when they dry as opposed, for example, to acrylics. Oils pretty much stay the same for a long period of time.
* It is very easy to correct a mistake when you paint with oils. Just scrape the paint off with a paint knife and repaint whatever it was you scraped off.
* Oil paint dries very slowly because they consist of small pigment particles suspended in oil.
In fact, each color has its own drying time. But all paints dry slow enough so that you can remove them days and even weeks after they were applied. This is also the reason why it is so easy to correct mistakes.
Of course, the disadvantage is that they dry … slowly. That means they stay wet longer although there exist mediums that, when mixed in with the paint, can significantly speed up the drying process if that is what you want.
* It is easy to mix tube colors on a palette and is usually done with a brush of paint knife. There are mediums to thicken the paint into a pasta-like consistency and mediums to thin the paint into a water-like consistency.
* Once a color mixture formula is memorized it is easy to consistently reproduce the mixture. This is less the case with most other mediums.
* The fact that oil paint dries so slowly also gives you more time to work and rework a painting. You have enough time to sleep on certain decisions you need to make. Acrylics, for example, dry much faster and give you less time to ponder your masterpiece before action is required.
* Oil paints are also easily blended. So, it becomes relatively easy to render smooth transitional areas between different colors or values.
* Oils are also amenable to a whole series of techniques each of which yields a different look and feel. One example of such a technique is glazing. In de glazing technique several thin layers of transparent paint are put on top of each other. Each layer must be thoroughly dry before the next one is applied. Once done light is reflected off each layer resulting into an unusual luminosity and brightness.
* Oil can be used on any number of grounds: canvas, panel canvas, glass, wood, paper, etc. each, when done correctly, with excellent and durable results.
These are some of the more important and interesting properties of oil paints that have given this medium the enduring popularity that it has.
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.
Art Education: Basic Techniques of Classical Realism Oil Paintings
October 31, 2009 by admin
Filed under Online Education
Krista QQ(www.123giftfactory.com) asked:
What is oil painting? Oil paints on the canvas. It’s an indisputable definition. I thought that oil painting is more than that.
Any kind of figurative art (including oil painting) is thought of beforehand. The basic rules of studying drawing and painting are very closely connected with the laws of the discipline.
Tip 1. Brushes
You should have many brushes so that not to lose time washing them while working. Take a new brush for every new mix. Use round kolinsky brushes, No.1 to No. 10. To cover larger surfaces, you will need a few #20 to #35 brushes. For final strokes PRIPLAVLENIYE (final blending) you will need a few very soft round and flat average size squirrel brushes. Brushes should be treated very carefully. After every session they should be washed in turpentine and after that in warm water with soap.
Tip 2. Canvas
The canvas should be primed additionally a few more times and in conclusion it should be ground with fine sandpaper. After that the canvas should be scraped with a razor to remove the canvas texture till smooth dead surface similar to the egg’s surface is achieved.
Tip 3. Palette
The palette must be made of hard dark wood, best of all, of pear wood. After work wash the palette with turpentine and scrape it with a razor. Before work wipe the palette with linseed oil.
Tip 4. Paper
The
drawing is made on paper life-size to the smallest details. Then it is transferred to the canvas by carbon-paper. After that the drawing is outlined with brown ink because the first oil layer – IMPRIMATURA (transparent coat that is equal to the middle tone of largest, lightest object in painting) – will wash away the pencil, but the ink will remain visible almost through the last layers.
Tip 5. Still Life Objects
It is very important to have objects for still life in the studio. Don’t be stingy at garage sales and flea markets, you may regret it later.
Tip 6. Lacquer
The lacquer for
IMPRIMATURA is made of 2% of dry DAMAR CRYSTALS and 98% of turpentine. The lacquer for painting is made of 5-10% of dry resin and 90-95 % of turpentine. A couple of lavender oil drops are added directly to the oil-can. Scientists say lavender oil stimulates the brain. However, I think that old masters added it to eliminate the heavy turpentine smell. The lacquer for the final step consists of 30% of DAMAR CRYSTALS, 3% of linseed oil, and 67% of turpentine.
Tip 7. Canvas Cleaning
Before each new layer the canvas (ideally dried during 7 weeks) is carefully wiped with a half of an onion (in order to prepare the dried surface to absorb better) and then with linseed oil. After that the canvas is wiped with a soft piece of cloth.
Tip 8. Mixture
IMPRIMATURA, or the first paint layer. The canvas is covered with a liquid mixture based on Red Ochre, Yellow Ochre Light and Ivory Black (the mixture should have an olive hue).
Tip 9. Basic Set of Paints
The basic set of paints is the following: “Rembrandt” oil colors: Flake White, Yellow Ochre Light, Red Ochre, Burnt Umber, Raw Umber Ivory and Lamp Black (7 Basic Colors), and 4 extra colors (when necessary) which I use in the last layers: Flake Yellow (instead of it also can be used Cadmium Yellow Deep), Madder Lake Deep, Chinese Vermilion, Prussian Blue. But be careful to use these last 4 colors very sparingly.
Tip 10. TEL’NII PODMALYOVOK
The
first and the second TEL’NII (flesh tones: main life colors) PODMALYOVOK (5th and 6th layers). The first TEL’NII PODMALYOVOK is made half a tone lighter and two tones lighter in colors; and half a tone darker and two tones lighter in shadows. The same is true of the second TEL’NII PODMALYOVOK.
Tip 11. PODMALYOVOK
The dead layer – the fourth PODMALYOVOK – is made with white lead, light ocher, red ocher, and burnt bone. The aim of this PODMALYOVOK is penumbra. The picture must look as if its objects were lit with moonlight – olive cold gray color. Colors are applied thickly, half a tone higher, shadows are very transparent, half a tone lower.
Tip 12. LESSIROVKA
The seventh layer — LESSIROVKA : Details of textures, thickly applied highlights, bright reflections, and signature. In this layer you may use additional paints: Prussian blue, red cinnabar, yellow flake (cadmium yellow deep), madder lake deep.
Tip 13. Shadow PODMALYOVOK
The shadow
PODMALYOVOK (the process of creating intermediate layers) is made with Burnt Umber in two layers (2nd and 3rd layers). In the second layer all details are made excluding the texture. In the third layer LESSIROVKA of the main tone masses is made with a big brush.
Tip 14. Music
Many painters get an energy charge from music. Stop listening to any modern music and begin listening only to classical music. Try to begin loving it.
Last, stop looking at modern art and stop loving it. Modern bright colors and hue contrasts destroy the subtle vision of the painter who took risks to study classical painting in our time.
From the 16th century to the beginning of the 20th century artists used the seven layer technique. Like music where there are seven notes, seven keys, and within each there are seven more. 7 days in a week. 7 Layers of Paint. Each layer in oil painting must dry for seven weeks. The energy which we receive from old paintings in museums, like ghosts in old castles with old paintings, is related to this magic figure.
What is oil painting? Oil paints on the canvas. It’s an indisputable definition. I thought that oil painting is more than that.
Any kind of figurative art (including oil painting) is thought of beforehand. The basic rules of studying drawing and painting are very closely connected with the laws of the discipline.
Tip 1. Brushes
You should have many brushes so that not to lose time washing them while working. Take a new brush for every new mix. Use round kolinsky brushes, No.1 to No. 10. To cover larger surfaces, you will need a few #20 to #35 brushes. For final strokes PRIPLAVLENIYE (final blending) you will need a few very soft round and flat average size squirrel brushes. Brushes should be treated very carefully. After every session they should be washed in turpentine and after that in warm water with soap.
Tip 2. Canvas
The canvas should be primed additionally a few more times and in conclusion it should be ground with fine sandpaper. After that the canvas should be scraped with a razor to remove the canvas texture till smooth dead surface similar to the egg’s surface is achieved.
Tip 3. Palette
The palette must be made of hard dark wood, best of all, of pear wood. After work wash the palette with turpentine and scrape it with a razor. Before work wipe the palette with linseed oil.
Tip 4. Paper
The
drawing is made on paper life-size to the smallest details. Then it is transferred to the canvas by carbon-paper. After that the drawing is outlined with brown ink because the first oil layer – IMPRIMATURA (transparent coat that is equal to the middle tone of largest, lightest object in painting) – will wash away the pencil, but the ink will remain visible almost through the last layers.
Tip 5. Still Life Objects
It is very important to have objects for still life in the studio. Don’t be stingy at garage sales and flea markets, you may regret it later.
Tip 6. Lacquer
The lacquer for
IMPRIMATURA is made of 2% of dry DAMAR CRYSTALS and 98% of turpentine. The lacquer for painting is made of 5-10% of dry resin and 90-95 % of turpentine. A couple of lavender oil drops are added directly to the oil-can. Scientists say lavender oil stimulates the brain. However, I think that old masters added it to eliminate the heavy turpentine smell. The lacquer for the final step consists of 30% of DAMAR CRYSTALS, 3% of linseed oil, and 67% of turpentine.
Tip 7. Canvas Cleaning
Before each new layer the canvas (ideally dried during 7 weeks) is carefully wiped with a half of an onion (in order to prepare the dried surface to absorb better) and then with linseed oil. After that the canvas is wiped with a soft piece of cloth.
Tip 8. Mixture
IMPRIMATURA, or the first paint layer. The canvas is covered with a liquid mixture based on Red Ochre, Yellow Ochre Light and Ivory Black (the mixture should have an olive hue).
Tip 9. Basic Set of Paints
The basic set of paints is the following: “Rembrandt” oil colors: Flake White, Yellow Ochre Light, Red Ochre, Burnt Umber, Raw Umber Ivory and Lamp Black (7 Basic Colors), and 4 extra colors (when necessary) which I use in the last layers: Flake Yellow (instead of it also can be used Cadmium Yellow Deep), Madder Lake Deep, Chinese Vermilion, Prussian Blue. But be careful to use these last 4 colors very sparingly.
Tip 10. TEL’NII PODMALYOVOK
The
first and the second TEL’NII (flesh tones: main life colors) PODMALYOVOK (5th and 6th layers). The first TEL’NII PODMALYOVOK is made half a tone lighter and two tones lighter in colors; and half a tone darker and two tones lighter in shadows. The same is true of the second TEL’NII PODMALYOVOK.
Tip 11. PODMALYOVOK
The dead layer – the fourth PODMALYOVOK – is made with white lead, light ocher, red ocher, and burnt bone. The aim of this PODMALYOVOK is penumbra. The picture must look as if its objects were lit with moonlight – olive cold gray color. Colors are applied thickly, half a tone higher, shadows are very transparent, half a tone lower.
Tip 12. LESSIROVKA
The seventh layer — LESSIROVKA : Details of textures, thickly applied highlights, bright reflections, and signature. In this layer you may use additional paints: Prussian blue, red cinnabar, yellow flake (cadmium yellow deep), madder lake deep.
Tip 13. Shadow PODMALYOVOK
The shadow
PODMALYOVOK (the process of creating intermediate layers) is made with Burnt Umber in two layers (2nd and 3rd layers). In the second layer all details are made excluding the texture. In the third layer LESSIROVKA of the main tone masses is made with a big brush.
Tip 14. Music
Many painters get an energy charge from music. Stop listening to any modern music and begin listening only to classical music. Try to begin loving it.
Last, stop looking at modern art and stop loving it. Modern bright colors and hue contrasts destroy the subtle vision of the painter who took risks to study classical painting in our time.
From the 16th century to the beginning of the 20th century artists used the seven layer technique. Like music where there are seven notes, seven keys, and within each there are seven more. 7 days in a week. 7 Layers of Paint. Each layer in oil painting must dry for seven weeks. The energy which we receive from old paintings in museums, like ghosts in old castles with old paintings, is related to this magic figure.
