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Introduction to Oil Painting Techniques

By: Ralph Serpe, Thu Sep 14th, 2006


Oil paint is an amazing versatile medium. It can be applied in a thick buttery fashion or thinned down to a watery consistency. This versatility opens the door to a number of different painting techniques.

My personal preference is to begin my oil paintings by first sketching out the composition using acrylic paint or with water-soluble oil paints. The popular approach to oil painting is to thin the paint with turpentine to apply your initial layers. Turpentine is quite toxic and I prefer not to work with it. Acrylic or water-soluble oil paints can be thinned down with plain old water and are more pleasant to work with in my opinion.

You can also begin your oil painting by first drawing out your composition. There are a few drawing mediums that work quite nicely with oil paints. My two favorites are vine charcoal and water-soluble pencils. I prefer vine charcoal because it doesn't smudge like other charcoals and it can be erased easier. Water-soluble pencils are wonderful because they can be applied like ordinary pencils and can be spread around like paint with a damp brush.

If you are the impatient type, you may want to try your hand at the Alla Prima oil painting technique. The Alla Prima method is when you complete the painting in one sitting rather than paint in layers and wait for the paint to dry. Although I usually prefer to work out my paintings in layers, I occasionally enjoy this exciting and spontaneous approach to oil painting.

If you are the careful, patient type of painter, you may be interested in working with the glazing technique. Glazing has lost popularity these days, partly because of the time needed to complete such a painting and it's difficulty, but the results are something truly unique to any other type of oil painting technique. The composition is first painted with an opaque monochrome underpainting, usually in shades of gray. After this initial underpainting is thoroughly dry, thin layers of transparent oil glazes are applied. Colors are not mixed directly but added in separate layers to get the desired color.

If you are the adventurous type, put the brushes aside and try a set of painting or palette knives. You can achieve some very interesting results with knives that aren't possible with brushes. The oil paint can be spread on thickly and scraped off with ease. What I enjoy most about using knives is the tendency to not focus on the small details. I am forced to paint in a more relaxed fashion that creates an impressionist style painting. Get yourself a set of painting knives and try to complete an entire painting with just the knives. It's challenging at first if you are used to brushes, but it's an enjoyable exercise.

Perhaps you would like your painting to have more body and texture. You could try the impasto painting technique and apply your paint in thick heavy strokes, leaving evidence of all those wonderfully artistic brush strokes. Take a look at a Van Gogh painting and you will see this technique in action.

It's really no wonder why oil painting is such a popular choice for painters. There is so much to discover in oil painting. You will never get bored trying out all the wonderful tools, mediums and techniques.

Direct Link: Introduction to Oil Painting Techniques

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Oil Painting Tips For Beginners

By: Ralph Serpe, Tue Sep 26th, 2006

Start your oil paintings with an acrylic underpainting - When you start an oil painting using oils, it can take some time for that initial layer to dry. Starting your painting with an acrylic underpainting however is a wonderful time saver as acrylic paint dries quickly and oil paint can be applied over the acrylic.

Make certain you have good lighting - I didn't realize how important good lighting was until I painted outdoors for the first time. Good lighting brings out the color and also lessens the strain on your eyes. If you can, paint in a place that gets plenty of natural sunlight. If you cannot afford this luxury, purchase a good indoor light. Check outNatural Light for Crafting, Hobbies, Reading, Sewing and Quilting from OTT-LITE Technology for a great selection of lighting products.

Make sure you have good ventilation - If you are using materials like oil painting thinners and cleaners in your studio; make sure you have good ventilation. Some of these chemicals can be quite toxic so use caution when working with these products. Consider using a water miscible paint like Grumbacher Max Oil Paints. Max Oils can be diluted with water thereby eliminating the need for solvents.

Fat over lean - Follow this rule and you will reduce the chance of your paint cracking. Each layer of your oil painting should have a higher oil content then the ones below it.

To create the illusion of distance in your paintings paint receding objects with cooler less intense color. Objects that advance are warmer and more intense.

If you are feeling uninspired don't get discouraged. Try taking a walk outside, breath in the air, look around at the beautiful earth God created. Try playing music while you are painting. You will be surprised how music can affect your painting. Visit a museum or local gallery. Viewing other works of art can really get your creative juices flowing.

When holding your brush avoid holding your brush like a pencil too close to the bristles. Oil brushes are made long for a reason so that you can paint further away from the canvas. Practice holding the brush toward the middle and end of the handle.

Maintain a clean organized working environment - Get yourself into the habit of keeping your work area clean and organized. Have an abundant supply of rags or paper towels nearby. Get a few glass jars for storing mediums, solvents and your used brushes while painting.

Brush Selection and Care - You should probably invest in a good set of brushes. Cheap brushes are not recommended as they shed their bristles quite easily while painting. I prefer working with Hog Hair brushes, but oil painters also use sable and synthetic sable. Avoid nylon brushes, as these are better suited for acrylic paint. My brushes include a variety of flats sizes #3, #6, #8, #12, a #4 fan, and a few small rounds for detail work. Selections vary from artist to artist, depending on painting style usually, but the above mentioned work fine for me. Take excellent care of your brushes. This is very important, especially if you have an expensive set of brushes. You may want to do a search online for more in depth brush care instructions. If you do not clean and store your brushes properly, you will ruin them, simple as that. Use a quality brush cleaner and preserver that you can purchase online or at your local art store.

I hope these oil painting tips have helped. Oil paint is not the easiest medium to work with. I recall the first panting I ever completed. It was a complete nightmare, and I almost threw in the towel. I have been painting for over 5 years now and I am still learning and improving every time I pick up the brush. Don't give up. With time and practice it will become easier and more rewarding.

About the author: Ralph Serpe is Webmaster and Cofounder of Creative Spotlite - Art Lessons Online Painting | Free Art Instruction School, a free educational art and craft community. Visit Creative Spotlite today for more free art lessons.

Direct Link:Oil Painting Tips For Beginners

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Oil Painting Lessons - Tips on Color mixing and theory

By: Ralph Serpe, Tue Aug 15th, 2006

When I first began painting some 10 years ago, I recall how intimidating it all seemed. With all of the various colors, mediums, brushes and other tools available, it was enough to make my head spin.

While learning about the various brushes and mediums was a bit confusing, the biggest challenge for me was how to accurately depict nature and other real life objects on canvas using color.

How do I make a color lighter or darker? What about making realistic shadows or highlights? This article will shed some colorful light on the situation, and with practice, working with color in your oil paintings will become easier and more enjoyable.

Thank God for the beautiful Sun, for without it, we would not see color. Everything would appear dark and colorless.

Thankfully, the light from the Sun also travels in a straight line. If it didn't, we wouldn't have the wonderful variety of light and shadow that makes everything so enjoyable to paint.

If you take an apple for instance, and put it outside in the grass in the sunlight, you will notice several different values that the light creates when shining on the apple.

You have the main overall tone of the apple, the shadow on the apple, the cast shadow, reflection from nearby objects like the green grass and the sky, and highlights. Our job as painters is to accurately depict these values on canvas using color.

There are so many different oil colors on the market today. All of these different colors come from the six colors that make up the spectrum - red, orange, yellow, green, blue, violet.

Colors have four main properties - value, intensity, temperature and hue. The value of a color refers to how light or dark a color is. The intensity of a color refers to how bright or dull it is - also known as a colors saturation or purity. If you used yellow straight from the tube, it would have a higher intensity then if you mixed it with white. The temperature refers to how warm or cool a color is. Colors range in temperature from warm yellows and oranges to cool blues and violets. Finally, the hue is just another word for color. An apple and a cherry are both hues of red.
Color mixing is not an exact science. Artists have different formulas and methods for mixing and applying paint, so the following tips are general guidelines and not necessarily rules that must be followed.

When mixing colors don't over mix. Over mixing a color will take the life out of it.
To create highlights in your paintings, use white with a touch of the objects complimentary color. There are some exceptions however. When painting highlights on certain objects like brass for instance, which can be depicted on canvas using yellow, making a lighter yellow tinted with white can create a convincing highlight.

Cast shadows of objects are complimentary to the color that the shadow is cast upon. For instance, the cast shadow of a red apple on a blue tablecloth would be orange.

To get any desired color, try to mix as few colors as possible.

Try to keep the theme of your painting either all warm or all cool in temperature.
Again, color mixing is not an exact science. If you survey 10 artists and ask them various questions about mixing oil paint, you will likely get many different answers. My advice is to keep painting and practicing until you develop your own formulas and techniques that you are comfortable with. Happy Painting and God Bless!

Direct Link: Oil Painting Lessons

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Oil painting

From Wikipedia, the free encyclopedia

Oil painting is the process of painting with pigments that are bound with a medium of drying oil — especially in early modern Europe, linseed oil. Often an oil such as linseed was boiled with a resin such as pine resin or even frankincense; these were called 'varnishes' and were prized for their body and gloss. Other oils occasionally used include poppyseed oil, walnut oil, and safflower oil. These oils confer various properties to the oil paint, such as less yellowing or different drying times. Certain differences are also visible in the sheen of the paints depending on the oil. Painters often use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular feel depending on the medium.

Techniques

Traditional oil painting techniques often begin with the artist sketching the figure onto the canvas with charcoal or a "wash," which is thinned paint. Oil paint can be mixed with turpentine or artist grade mineral spirits or other lean vehicles to create a thinner, faster drying paint. Then the artist builds the figure in layers. A basic rule of oil paint application is 'fat over lean.' This means that each additional layer of paint should be a bit oilier than the layer below, to allow proper drying. As a painting gets additional layers, the paint must get oilier (leaner to fatter) or the final painting will crack and peel. There are many other painting media that can be used in oil painting, including cold wax, resins, and varnishes. These additional media can aid the painter in adjusting the translucency of the paint, the sheen of the paint, the density or 'body' of the paint, and the ability of the paint to hold or conceal the brushstroke. These variables are closely related to the expressive capacity of oil paint. When looking at original oil paintings, the various traits of oil paint allow one to sense the choices the artist made as they applied the paint. For the viewer, the paint is still, but for the artist, the oil paint is a liquid or semi-liquid and must be moved 'onto' the painting surface.
Traditionally, moving paint was accomplished with paint brushes, but there are other methods, including the palette knife, the rag, and even directly from the paint tube. Oil paint remains wet longer than many other types of artists' materials, enabling the artist to change the color, texture or form of the figure. At times, the painter might even remove an entire layer of paint and begin anew. This can be done with a rag and some turpentine for a certain time while the paint is wet, but after a while, the hardened layer must be scraped. Many oil paintings reveal evidence of such scraping on close inspection, particularly when the surface itself is examined. Oil paint dries by oxidation, not evaporation, and is usually dry to the touch in a day to two weeks. It is generally dry enough to be varnished in six months to a year. Art conservators do not consider an oil painting completely dry until it is 60 to 80 years old.

History

Oil paint was probably developed for decorative or functional purposes in the High Middle Ages, although recent research indicates it was known in the far east centuries earlier[1]. Surfaces like shields — both those used in tournaments and those hung as decorations — were more durable when painted in oil-based media than when painted in the traditional tempera paints.
Most Renaissance sources, in particular Vasari, credited northern European painters of the 15th century, and Jan van Eyck in particular, with the "invention" of painting with oil media on wood panel, however Theophilus (Roger of Helmarshausen?) clearly gives instructions for oil-based painting in his treatise, On Divers Arts, written in 1125. Early Netherlandish painting in the 15th century was however the first to make oil the usual painting medium, followed by the rest of Northern Europe, and only then Italy. The popularity of oil spread through Italy from the North, starting in Venice in the late 15th century. By 1540 the previous method for painting on panel, tempera had become all but extinct, although Italians continued to use fresco for wall paintings, which was more difficult in Northern climates.

Ingredients

The linseed oil itself comes from the flax seed, and this flax was a common fiber crop. Recent advances in chemistry have produced modern water miscible oil paints that can be used with and cleaned up with water. Small alterations in the molecular structure of the oil creates this water miscible property.
A still-newer type of paint, heat-set oils, remain liquid until heated to 265–280 °F (130–138 °C) for about 15 minutes. Since the paint never dries otherwise, cleanup is not needed (except when one wants to use a different color and the same brush). Although not technically true oils (the medium is an unidentified "non-drying synthetic oily liquid, imbedded with a heat sensitive curing agent"), the paintings resemble oil paintings and are usually shown as oil paintings.

Carriers

Traditional artists' canvas is made from linen, but the less expensive cotton fabric has gained popularity. The artist first prepares a wooden frame called a “stretcher" or "strainer". The difference between the first and second is that stretchers are slightly adjustable, while strainers are rigid and lack adjustable corner notches. The canvas is then pulled across the wooden frame and tacked or stapled tightly to the back edge. The next step is for the artist to apply a "size" to isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was coated with a layer of animal glue (size), (modern painters will use rabbit skin glue) and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso, a mixture of glue and chalk.
Modern acrylic "gesso" is made of titanium dioxide with an acrylic binder. It is frequently used on canvas, whereas real gesso is not suitable for that application. The artist might apply several layers of gesso, sanding each smooth after it has dried. Acrylic gesso is very difficult to sand. One manufacturer makes a sandable acrylic gesso, but it is intended for panels only, not canvas. It is possible to tone the gesso to a particular color, but most store-bought gesso is white. The gesso layer will tend to draw the oil paint into the porous surface, depending on the thickness of the gesso layer. Excessive or uneven gesso layers are sometimes visible in the surface of finished paintings as a change in the layer that's not from the paint.
Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French, as it was - and evidently still is - supported by the main suppliers of artist materials. The main separation from size 0 (toile de 0) to size 120 (toile de 120) is divided in separate runs for figures (figure), landscapes (paysage) and marines (marine) which more or less keep the diagonal. Thus a 0 figure corresponds in height with a paysage 1 and a marine 2 .

Process of oil painting

The process of oil painting varies from artist to artist, but often includes certain steps. First, the artist prepares the surface. Although surfaces like linoleum, wooden panel, paper, slate, pressed wood, and cardboard have been used, the most popular surface since the 16th century has been canvas, although many artists used panel through the 17th century and beyond. Before that it was panel, which is more expensive, heavier, less easy to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel gives an advantage.
The artist might sketch an outline of their subject prior to applying pigment to the surface. “Pigment” may be any number of natural substances with color, such as sulphur for yellow or cobalt for blue. The pigment is mixed with oil, usually linseed oil but other oils may be used as well. The various oils dry differently creating assorted effects.
Traditionally, an artist mixed his or her own paints for each project. Handling and mixing the raw pigments and mediums was prohibitive to transportation. This changed in the late 1800’s, when oil paint in tubes became widely available. Artists could mix colors quickly and easily without having to grind their own pigments. Also, the portability of tube paints allowed for plein air, or outdoor painting (common to French Impressionism).
The artist most often uses a brush to apply the paint. Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog’s bristle might be used for bolder strokes. Brushes made from miniver, which is squirrel fur, might be used for finer details. Sizes of brushes also create different effects. For example, a "round" is a pointed brush used for detail work. "Bright" brushes are used to apply broad swaths of color. The artist might also apply paint with a palette knife, which is a flat, metal blade. A palette knife may also be used to remove paint from the canvas when necessary. A variety of unconventional tools, such as rags, sponges, and cotton swabs, may be used. Some artists even paint with their fingers.
Most artists paint in layers, a method first perfected in the Egg tempera painting technique, and adapted in Northern Europe for use with linseed oil paints. The first coat or "underpainting" is laid down first, painted normally with turpentine thinned paint. This layer helps to "tone" the canvas, and cover the white of the gesso. Many artists use this layer to sketch out the composition. This layer can be adjusted before moving forward, which is an advantage over the 'cartooning' method used in Fresco technique. After this layer dries, one way the artist might then proceed is by painting a "mosaic" of color swatches, working from darkest to lightest. The borders of the colors are blended together when the "mosaic" is completed. This layer is then left to dry before applying details. The artist may apply several layers of details, using a technique called 'fat over lean.' This means that each additional layer of paint is a bit oilier than the layer below, to allow proper drying. As a painting gets additional layers, the paint must get oilier (leaner to fatter) or the final painting will crack and peel. After it is dry, the artist will apply "glaze" to the painting, which is a thin, transparent layer to seal the surface. A classical work might take weeks or even months to layer the paint, but the most skilled early artists, such as Jan van Eyck, also used Wet-on-wet painting for some details. Artists in later periods such as the impressionist era often used this more widely, blending the wet paint on the canvas without following the Renaissance layering and glazing method. This method is also called "Alla Prima." When the image is finished and dried for up to a year, an artist would often seal the work with a layer of varnish typically made from damar gum crystals dissolved in turpentine. Contemporary artists increasingly resist the varnishing of their work, preferring that the surfaces remain varnish-free indefinitely.